3  1822  01126  9610 


« 


mm 


• 

- 
• 
• 
• 
' 


G/C 


Central  University  Library 

University  of  California,  San  Diego 
•:  This  item  is  subject  to  recall  aftertwo  weeks. 

Date  Due 


021993 


WAX     FLOWERS, 


HOW  TO  MAKE  THEM 


NEW   METHODS    OF    SHEETING    WAX, 
MODELLING    FRUIT,    &c. 


BOSTON: 

J.    53.    TILTOlSr    J^NT) 

1864. 


Entered,  according  to  Act  of  Congress,  in  the  year  1864,  by 

J.    E.    TILTON    &    CO., 
In  the  Clerk's  Office  of  the  District  Court  of  the  District  of  Massachusetts. 


.J.ECTHOTTPED    AT     THB 

Hotton    Stereotype    Foundry, 
No.  4  Spring  Lane. 

PRINTED   BY 

CEO.  C.  RAMD  &  AVBBT,  8  COBKHIU.. 


CONTENTS. 


PAOB 

INTRODUCTION 7 

WAX  FRUIT. 

Making  Moulds  of  Two  Parts, 12 

Mould  for  an  Orange, 12 

Moulds  for  Lemons,  Citrons,  Limes,  Melons,  Capsicums,  &c.,     .  17 

Moulds  for  Plums,  Apples,  Pears,  Cherries,  Closed  Peas,  &c.,  18 

Moulds  of  Peaches,  Apricots,  Filberts,  Walnuts,  Almonds,  &c.,  20 

Moulds  for  Half  Fruit, •  20 

Moulds  of  Many  Parts, 22 

Moulds  of  the  Pomegranate  and  Medlar, 22 

Mould  of  a  Cucumber  and  an  Egg, 24 

Mould  of  a  Mulberry,  Raspberry,  &c., 26 

Pine  Apple 27 

Section  of  Fruit,  ...-..- 28 

Moulds  of  Small  Fruit, 29 

Grapes,  Currants, 29 

Other  Objects 29 

CASTING  THE  FRUIT. 

Casting  an  Orange 31 

Casting  other  Fruit, 32 

Stalks, 34 

Solid  Fruit, 34 

FINISHING  THE  FRUIT. 

To  Prepare  the  Fruit  previous  to  Coloring 36 

Coloring  Sections  of  Fruit 38 

Putting  on  a  Rosy  Tint, 40 

Putting  on  Streaks,  Specks,  and  Irregular  Patches,      ...  40 

To  put  a  Downiness  or  Powdering  upon  Fruit,  ....  42 

Varnishing  a  Fruit, 43 


4  CONTENTS. 

SMALL    CLUSTERED  FRUITS. 
Not  made  by  Casting  nor  in  Wax,          .        .        .        .     „•  .        .45 

To  make  Dark  Grapes, 45 

To  make  White  Grapes, 47 

To  make  Currants, 47 

General  Observations  on  Casting  Wax,  .......  48 

Elastic  Moulds 49 

To  Obtain  a.nd  Prepare  Wax, ' .        .51 

To  Whiten  Wax, 52 

To  Clean  a  Brush, 52 

To  Remove  Wax  from  a  Dress, 53 

WAX  FLOWERS. 

Articles  and  Materials  required, 54 

Making  Sheets  of  Wax 55 

White 56 

Yellow, 57 

Pinks  and  Reds, 58 

Blues, 58 

Greens, 58 

Colors  required, 62 

White  and  Green  Down 62 

Brushes, 63 

Patterns  and  Shapes 64 

Stamens  and  Pointal,  .........  66 

To  make  Waxen  Leaves, .67 

To  make  Succulent  Stems,  Buds,  &c., 68 

MODELLING   SIMPLE   FLOWERS,        .         .  69 

SINGLE  AND  SIMPLE  FLOWERS. 

The  Snowdrop,  Crocus,  Primrose,  and  Violet,       ....  72 

The  Crocus  Tribe, 76 

Crocus  Sativus,         .                                  78 

The  Snowdrop, 79 

The  Violet, -       .        .  80 

The  Heartsease, 82 

The  Tulip,  Hyacinth,  and  Narcissus, 83 

The  Van  Trol,  or  Sweet-scented  Early  Spring  Tulip,        .        .  84 

The  Hyacinth 85 

The  Narcissus, 88 

The  Pink,  Jessamine,  Daisy,  Forget-me-not,  Coreopsis,  &c.,       .  93 


CONTENTS.  i) 

The  Single  P       , 94 

The  Double        .k, 95 

Clove  and  Carnation, 95 

The  Jasmine, 96 

The  Daisy, 97 

The  Forget--ne-not, 98 

The  Coreopsis 98 

The  Cyclamen,          .                                  99 

Other  Simple  Flowers, 100 

The  Laburnum, 101 

The  Convolvulus, 101 

The  Fuchsia, 102 

Engraving  of  a  large  Fuchsia, 10-5 

Various  Parts  of  the  Fuchsia  of  the  Natural  Size,        .        .        .106 

Bell  Flowers, 107 

The  Tobacco 107 

Honeysuckle, 107 

The  Poppy 107 

The  Passion  Flower, 108 

The  Single  Rose, 110 

The  Chrysanthemum,  China  Aster,  and  other  Quitted  Flowers,  110 

The  Lily  of  the  Valley, 112 

MODELLING  OF  DOUBLE  FLOWERS,   .        .  114 


HERE  are  no  imitations  of  natural 
objects  more  exact  and  pleasing  than 
those  made  of  wax,  more  especially 
the  representations  of  Fruit  and  Flow- 
ers. So  exact,  indeed,  are  they,  that  if  well  made, 
the  most  practised  eye  cannot  sometimes  detect  the 
real  from  the  artificial. 

In  Fruit,  the  choicest  specimens  of  every  clime  may 
be  thus  assembled  in  a  single  vase,  in  all  their  ap- 
parent lusciousness  and  perfection  ;  while  in  their  waxen 
prototypes,  lovely  Flowers  may  be  viewed  in  all  their 
gorgeous  coloring  and  transparent  delicacy.  As  orna- 


8  WAX    FRUIT    AND     FLOWERS. 

ments  to  the  drawing-room,  when  grouped  with  taste, 
and  blended  with  harmonic  contrast,  these  waxen  ob- 
jects are  not  to  be  surpassed,  whether  we  look  at 
them  as  records  of  foreign  productions  seldom  seen,  — 
of  extraordinarily  beautiful  specimens  of  home-growth, 
—  of  favorites  which  it  is  desirable  to  preserve,  —  or 
merely  as  beauties  of  ordinary  production,  which  the 
eye  delights  to  rest  upon.  Indeed,  all  lovers  of 
flowers  (and  who  are  not?)  must  admire  these, — 
their  lovely  images,  transparent,  vivid,  and  brilliant  as 
they  are. 

The  very  beauty  of  waxen  fruit  and  flowers,  induces 
the  belief  that  to  make  them  must  be  difficult.  "  I 
can  never  make  any  so  beautiful  as  these,"  is  a  very 
oft-repeated  expression  upon  witnessing  even  a  single 
group.  Yet,  in  truth,  no  art  is  of  more  easy  attain- 
ment ;  a  little  patience,  and  a  little  taste,  are  the  whole 
mental  requisites ;  these,  superadded  to  ordinary  care 
in  the  manipulation,  cannot  fail  very  shortly  to  render 
proficient  the  most  inexperienced.  Yet  it  is  not  to  be 
denied,  that  a  slight  knowledge  of  the  harmony  of 
colors  and  of  botany  will  greatly  assist  in  the  per- 
fection of  the  more  difficult  of  these  works  of  elegance. 
The  chief  thing  is  to  know  how  to  select  the  proper 
materials,  and  how  to  set  about  the  work  in  a  proper 


WAX    FRUIT    AND     FLOWERS.  9 

manner;  and,  it  may  be  added,  to  commence  with 
what  is  most  easy.  Should  it  be  a  fruit,  let  it  be  one 
of  a  single  color,  —  as  an  orange  or  a  lemon ;  or,  if 
a  flower,  we  might  recommend  a  snowdrop,  a  violet,} 
or  a  narcissus,  in  which  there  is  no  complexity,  and 
little  pencilling. 

In  our  larger  cities,  the  requisite  materials  can  al- 
ways readily  be  procured,  and  it  is  not  worth  while 
that  any  of  them  should  be  home-made ;  yet,  as  per- 
sons who  desire  to  practise  this  art  may  live  far  in 
the  country,  where  it  is  difficult  to  obtain  even  the 
simpler  requisites ;  and,  as  circumstances  often  arise  in 
which  it  is  absolutely  impossible  to  procure  what  may 
be  wanted  for  a  particular  purpose,  as  in  the  case  of 
a  mould  being  required  for  a  certain  specimen  of  a^ 
fruit,  or  the  extra  thick  wax  desirable  for  particular 
flowers,  &c.,  we  intend  to  include  in  this,  our  little 
book,  every  available  information ;  that  the  learner, 
however  remotely  situated  may  be  his  residence,  or 
unique  his  model,  may  have  as  much  as  possible  his 
difficulties  removed,  his  mind  stimulated,  and  his  fin- 
gers directed  to  attain  excellence. 

Beginning  with  the  easiest  department,  it  is  neces- 
sary to  divide  the  subject  into  the  making  of  Fruit, 
and  the  making  of  Flowers.  These  are  quite  distinct 


10  WAX  FRUIT  AND   FLOWERS. 

in  themselves ;  the  former  includes  the  imitation  of 
all  solid  objects,  with  melted  wax  poured  into  moulds. 
The  latter  includes  those  more  delicate  ones,  which 
are  made  without  moulds,  of  wax  previously  cut  into 
thin  sheets. 


WAX    FRUIT.  11 


WAX  FRUIT. 


]  HE  art  of  making  Wax  Fruit  includes 
every  small  object  made  in  a  mould ;  thus 
the  same  instructions  that  direct  to 
make  an  orange,  are  equally  applicable 
to  form  an  egg,  a  pea,  a  cucumber,  the  stem  of  a  cactus 
or  stapelia,  a  doll,  a  bust,  or  any  similar  article,  ob- 
serving that  the  principle  upon  which  all  are  formed 
is,  that  a  mould  is  requisite.  This  is  first  to  be  made 
or  procured,  then  wax  is  to  be  cast  in  it;  sometimes 
solid,  sometimes  hollow.  In  many  cases  the  objects 
will  now  be  completely  finished,  with  the  exception 
of  just  trimming  around  where  the  mould  joined ;  in 
other  cases,  the  wax-castings  are  to  be  painted  with 
dry  colors  for  some,  and  wet  colors  for  others ;  and  in 
different  manners,  according  to  the  effect  desired  to  be 
produced.  Thus  the  imitation  of  solid  objects  in  wax 


12  WAX    FRUIT. 

necessarily  resolves  itself  into  three  distinct  portions, 
each  of  which  we  must  consider  in  detail ;  and  first, 
as  to 

MAKING  MOULDS  OF  TWO  PARTS. 

The  materials  and  implements  requisite  for  making 
the  proper  moulds  are  plaster  of  Paris  ;  some  slips  of 
stiff  paper,  or  ribbons  of  tin  cut  from  thin  tin-plates  of 
their  full  length,  and  about  three  inches  wide ;  some 
damp  sand  in  a  bowl ;  a  pint  basin ;  large  spoon ; 
small  dinner-knife ;  and  jug  of  water.  The  plaster  of 
Paris  should  be  quite  fresh,  and  of  good  quality, 
superfine  if  it  can  be  procured ;  it  may  be  bought  of 
any  of  the  Italian  figure-makers.  Thus  provided,  pro- 
cure a  regularly  formed  fruit,  and  one  which  is  neither 
hard  like  a  walnut,  nor  yet  rough  like  a  peach,  nor 
irregular  like  a  pine-apple  ;  an  orange  is  a  very  good 
one  for  this  purpose ;  then  proceed  as  follows :  — 

Mould  for  an  Orange.  —  Sink  nearly  one  half  the 
orange  into  the  sand  which  has  been  previously 
damped ;  and  it  will  be  better,  for  a  reason  afterwards 
explained,  to  sink  that  part  of  the  orange  to  which 
the  stalk  was  attached,  so  that  the  widest  part  of  the 
orange  shall  be  just  above  the  sand.  Make  the  sand 


WAX    FRUIT.  13 

smooth  around  it.  Then  take  one  of  the  longest 
pieces  of  tin,  bend  it  round  into  a  hoop  a  little  more 
than  an  inch  wider  than  the  orange,  and  keep  it  of 
this  form  and  size  by  a  bit  of  string  tied  round  it, 
stick  this  hoop  in  the  sand  so  as  to  enclose  the 
orange,  and  be  at  an  equal  distance  from  it  on  every 
side,  the  upper  edge  of  the  tin  standing  up  above  the 
fruit,  which  is  now  prepared  for  casting  from.  If  you 
have  no  tin,  a  piece  of  stiff  and  smooth  brown  paper, 
folded  double,  and  one  end  fastened  to  the  other  by  a 
Avafer  or  wax,  and  the  slip  then  made  to  surround  the 
fruit,  will  do  as  well  as  the  tin,  though  it  is  more 
troublesome  to  insert  into  the  sand. 
'  Now  prepare  the  plaster  of  Paris,  which  is  to  be 
poured  on  to  the  fruit.  First  pour  water  into  the 
basin  (it  may  be  half  or  three  quarters  full),  sprinkle 
the  plaster  into  the  water  quickly,  till  it  comes  up  to 
the  top  of  the  water,  or  till  you  think  you  have 
enough  to  cover  the  exposed  half  of  the  fruit  to  half 
an  inch  in  depth,  pour  off  the  superfluous  water,  and 
stir  the  whole  together  quickly,  till  well  mixed,  to 
about  the  consistence  of  thick  cream  or  honey ;  then 
pour  the  mixed  plaster  upon  the  fruit,  so  as  to  cover 
it  all  over  equally,  or  as  nearly  so  as  possible,  the 
plaster  will,  of  course,  be  stopped  from  running  away 
2 


14  WAX    FRUIT. 

by  the  tin  edging.  If  it  should  be  too  thin,  and 
therefore  run  too  much  off  the  fruit,  so  as  to  leave 
the  top  bare,  or  nearly  so,  you  must,  after  pouring  it 
on  the  fruit,  watch  till  it  begins  to  harden,  and  then 
with  a  knife  plaster  it  on  the  deficient  parts,  or  else 
quickly  mix  up  a  little  more  to  pour  on ;  the  whole 
of  this  must  not  take  up  above  a  minute  or  two,  or 
the  plaster  will  begin  to  set,  as  it  is  called ;  that  is,  it 
will  commence  solidifying,  for  it  is  the  property  of 
calcined  plaster  of  Paris  to  unite  itself  with  water 
with  so  strong  a  chemical  affinity,  that  from  an  im- 
palpable powder  it  becomes  a  hard  and  solid  substance. 

While  the  half  mould,  now  roughly  formed,  is  be- 
coming hard  enough  to  handle,  the  basin  and  spoon 
must  be  carefully  washed,  ready  for  use  again  pres- 
ently, for  a  second  quantity  of  plaster  must  never  be 
mixed  up  in  any  vessel,  till  all  former  quantities  be 
carefully  washed  away ;  and  be  it  remarked,  also,  that 
if  plaster  gets  hard  and  dry  in  a  basin,  spoon,  or  other 
vessel,  the  best  way  to  remove  it  is  to  pour  in  a  little 
water,  when  it  will  readily  separate  in  one  piece. 

We  will  now  suppose  the  plaster,  which  has  been 
poured  on  the  fruit,  to  have  gotten  about  as  hard  as 
the  flesh  of  a  soft  pear,  or  just  hard  enough  to  handle ; 
when  this  is  the  case,  take  the  whole  up  from  the 


WAX    FRUIT.  15 

sand,  take  away  with  the  point  of  the  knife  all  sand 
which  will  drop  from  it,  carefully  remove  the  tin  rim, 
and  hold  the  mould  by  the  fruit;  now  cut  away  any 
superfluous  parts  around  the  outside  with  a  knife  as 
quickly  as  convenient,  for  it  is  now  momentarily  get- 
ting harder ;  turn  it  up,  and  holding  the  mould  itself 
in  the  hand,  fruit  uppermost,  remote  the  orange,  if  it 
can  he  done  readily  without  hurting  the  mould.  Lay 
the  fruit  aside,  cut  away  the  lower  edge  of  the  mould 
where  it  has  touched  the  sand,  till  the  mould  is  ex- 
actly that  of  half  the  fruit,  which  is  easily  seen,  by 
the  shape  of  it  internally.  This  is  somewhat  impor- 
tant, in  order  that  the  second  half  of  the  mould  shall 
fit  the  fruit.  If  the  tin  has  been  of  proper  size,  the 
mould  will  be  half  an  inch  thick  around  the  edge. 

The  next  operation  is  to  prepare  the  second  half  of 
the  mould,  and  that  is  easier  and  quicker  to  do  than 
the  first.  First  make  two,  three,  or  four  holes  with 
the  round  point  of  the  knife  in  different  parts  of  the 
edge  of  the  former  half,  to  such  a  depth  and  of  such 
a  size,  that  each  will  hold  half  a  small  marble  or 
large  pea.  Then  grease  with  tallow  and  salad  oil, 
melted  together  in  equal  proportions,  and  laid  on  with 
a  small  brush,  the  edge  of  the  finished  half,  holes  and 
all.  Wipe  the  orange  from -all  sand,  and  place  it  in 


16  WAX    FEU  IT. 

the  half  mould  exactly  as  it  came  out,  so  that  it  shall 
fit  in  every  part ;  surround  the  finished  half  mould 
with  a  long  slip  of  stiff  paper  or  tin,  which  you  must 
tie  on  with  a  string,  or  fasten  with  a  wafer.  Place 
the  whole,  thus  prepared,  on  a  table  or  flat  surface, 
fruit  uppermost ;  prepare  some  more  liquid  plaster,  as 
in  the  former  instance,  pour  it  upon  the  fruit,  and  let 
it  partly  harden.  Then  take  off  the  edging,  trim  up 


The  cut  above  shows  the  moulding  of  the  orange.  A,  represents  It 
half  buried  in  the  sand,  with  the  tin  or  paper  around ;  B,  is  a  view  of 
the  first  half  mould  when  complete. 


the  outside,  and  when  quite  hard,  insert  the  blade  of 
the  knife  between  the  two  halves  and  separate  them. 
The  whole  mould  will  now  be  complete,  and  the  fruit 
being  taken  out,  it  will  be  ready  to  cast  in. 

This  is  the  simple  process  employed  for  making 
two-part  moulds  of  all  equally  or  regularly  formed 
fruit  of  the  nature  of  the  orange,  or  such  as  are  at 
the  same  time  soft  and  yielding,  such  as  are  without 


WAX    FRUIT.  17 

depressions,  or  irregular  hollows  or  warts,  and  of  such 
a  nature  that  the  plaster  will  not  stick  to  them.  For 
other  fruit,  as  presently  to  be  observed,  a  rather  dif- 
ferent method  must  be  pursued. 

If  a  second  mould  be  desired  of  the  same  fruit,  a 
new  half  may  be  cast  from  the  fruit  for  either  side  of 
it,  by  the  same  method  as  pursued  for  the  second  half 
of  the  original  mould,  without  having  recourse  to  the 
sand,  as  in  making  the  first. 


Moulds  for  Lemons,  Citrons,  Limes,  Melons, 
cums,  &c.  —  The  moulds  of  all  these  may  be  made  as 
explained  for  the  orange,  observing  only,  that  a  long 
fruit  should  be  laid  in  the  sand  lengthways,  and  a 
round  fruit  stalkways  ;  so  that  the  joints  of  the  mould 
shall  for  a  lemon  go  from  end  to  end ;  and  for  an 
orange  round  the  greatest  circumference  4  or  round  what 
we  may  call  its  equator.  Sometimes  a  citron  is  so 
rough,  that  it  will  not  deliver ;  that  is,  draw  out  of 
the  mould,  unless  the  latter  be  made  of  three  pieces 
instead  of  two.  Lemons,  also,  have  very  often  a 
hollow  next  to  the  end  knob,  and,  it  may  be,  small 
knobs  upon  them ;  the  largest  or  most  irregular  of 
these  should  be  placed  either  quite  downwards,  or 
quite  upwards  in  forming  the  moulds. 


18  WAX    FEU  IT. 

Moulds  for  Plums,  Apples,  Pears,  Cherries,  Closed  Peas, 
Nectarines,  Strawberries,  Gooseberries,  Green  Figs,  &c.  — 
These  are  all  fruit  either  too  unyielding  to  be  removed 
from  the  first  half  mould  by  pressure,  as  in  the  orange, 
or  too  soft  not  to  be  spoiled  by  the  operation.  The  dif- 
ference then  to  be  observed  in  making  the  moulds  for 
these  and  similar  objects  is  only  this,  that  the  edge 
of  the  first  half  mould,  where  it  touches  the  sand,  is 
to  be  trimmed  to  exactly  the  half  of  the  fruit,  before 
the  latter  can  be  removed  from  it.  It  must  be  evi- 
dent that  every  mould  must  divide  in  the  widest  part 
of  the  fruit,  for  if  the  fruit  be  sunk  too  much  in  the 
sand,  the  first  half  will  not  enclose  enough  of  it,  so  if 
the  first  half  be  cut  away  too  much,  the  second  half 
will,  in  like  manner,  enclose  too  much,  and  the  fruit 
being  somewhat  yielding,  it  may  be  removed,  yet  the 
wax  cast  afterwards  to  be  withdrawn  will  be  caught 
by  the  overhanging  edges  of  the  larger  part  of  the 
mould,  and  the  whole  be  spoiled,  except  that  as  the 
wax  shrinks  a  little  in  cooling,  if  the  difference  of 
the  two  be  but  trifling,  it  may  perhaps  deliver,  espe- 
cially if  the  fruit  be  large  as  a  melon.  In  making 
moulds  of  Strawberries,  Figs,  and  other  soft  fruit, 
great  care  must  be  taken  in  their  removal,  for  if  they 
are  broken,  they  cannot  be  replaced  well  to  make  the 


WAX    FRUIT.  19 

second  half.  The  calyx  of  the  strawberry  must  be 
removed  before  making  the  mould,  and  a  little  piece 
of  dough,  putty,  or  cotton-wool  be  put  into  the  hole 
where  the  centre  piece  is  drawn  out  along  with  the 
calyx ;  if  it  should  be  so,  though  this  should  be 
avoided  if  possible.  Egg  Plums  have  mostly  a  channel 
down  them,  this  should  be  at  the  bottom  of  the  mould. 
Greengages,  and  many  other  Plums,  Nectarines,  most 


A,  represents  the  first  half  mould  of  an  apple  in  section,  intended  to 
show  the  nature  of  the  small  connecting  holes;  B,  is  the  first  half  of  a 
pear,  showing  its  lengthways  position. 


Apples,  Cherries,  &c.,  have  a  deep  hollow  or  depres- 
sion where  the  stalk  grows ;  in  all  these  cases  the 
stalk  should  be  removed,  and  this  part  placed  down- 
wards in  the  sand ;  also  be  careful,  if  there  is  any  de- 
fect in  the  fruit,  as  a  hole  pecked  by  a  bird,  a  speck 
of  decay,  an  injury,  or  curious  growth,  that  this  part 
shall  be  so  placed,  that  neither  the  mould  nor*  the 
fruit  shall  be  torn  away  in  the  removal  of  one  from 


20  WAX   FRUIT. 

the  other.  Imperfect  fruit  is  by  no  means  to  be  re- 
jected as  unworthy  of  imitation ;  on  the  contrary,  it  is 
generally  more  natural  than  the  unblemished  speci- 
mens. The  stalks  of  long  Pears  may  be  left  on  the 
fruit ;  they  will  deliver  well  if  laid  lengthways  in  the 
sand. 

Moulds  of  Peaches,  Apricots,  Filberts,  Walnuts, 
Almonds,  &c.  —  No  instruction  is  requisite  for  these 
fruits  beyond  the  above,  except  that  as  the  plaster  will 
stick  to  them,  either  on  account  of  their  hairiness  or 
their  dry  hardness,  it  is  requisite  to  grease  them  well 
before  placing  them  in  the  sand ;  and  as  the  grease 
will  cause  the  sand  to  adhere  to  them,  after  separating 
the  first  half  mould,  let  them  be  well  cleaned  from 
sand  before  they  are  placed  in  it  for  the  second  cast ; 
when  thus  placed,  it  is  usual  to  grease  well  with  the 
oil  and  tallow,  both  the  fruit  and  edge  of  the  mould 
at  the  same  time. 


MOULDS  FOR  HALF  FRUIT. 

It  is  often  desired  to  form  a  model  of  a  Half  Apple, 
Pear,  or  Peach.  This  is  very  easily  done.  First 
consider  where  the  section  shall  be,  and  either  tie  a 
thread  round  the  fruit  at  this  place,  or  else  mark  it 

2* 


WAX    FRUIT.  21 

round  with  a  knife,  just  cutting  through  the  rind ;  a 
thread  is  best  for  an  Orange,  Lemon,  or  Peach,  and 
a  cut  for  an  Apple  or  Pear.  Insert  almost  all  the 
part  which  is  to  be  cut  off,  and  which  should,  in  a 
two-part  mould,  be  always  half,  or  more  than  half 
the  fruit,  into  the  sand ;  make  a  half  mould  upon  it 
as  before  directed,  trim  up  this,  remove  the  fruit,  trim 
up  the  edge  of  the  mould  to  the  line  before  marked 
out,  or  rather  beyond  it,  make  the  proper  holes  to 
connect  it  with  the  next  half,  grease  the  edge  well, 
put  the  fruit  in  its  place  so  as  to  fit  exactly,  then  cut 
it  through,  leaving  of  course  half  in ;  see  that  the 
pips  are  properly  in  their  places ;  if  apple-pips,  pear- 
pips,  or  the  dry  stones  of  plums  or  apricots,  oil  them 
a  little,  then,  having  fastened  around  the  already  fin- 
ished half  mould  a  paper  edge  or  guard,  pour  the 
mixed  plaster  over  the  cut  half,  and  it  will  be  the 
exact  counterpart  of  it.  In  removing  this  when  set, 
it  is  very  probable  that  the  pips  will  adhere  to  it,  or 
may  even  be  imbedded  in  it ;  in  this  case,  cut  away 
carefully  with  a  penknife,  till  you  come  down  to  them, 
when  they  may  be  removed.  To  take  a  section  of  a 
fruit,  as  three  quarters  of  an  apple,  a  portion  of  a 
melon,  &c.,  will  be  described  in  the  next  division  of 
the  subject,  viz. :  — 


22  WAX    FEU  IT. 

MOULDS   OF  MANY  PARTS. 

These  moulds  are  somewhat  more  difficult  to  form 
than  those  before  described,  though  the  same  general 
principles  are  to  be  regarded,  and  the  same  manipu- 
lation in  most  respects  preserved.  These  three  or 
four-part  moulds  are  applicable  to  all  fruits,  and  other 
objects  of  such  a  form  that  they  cannot  be  divided 
into  two  halves ;  or  if  so  divided,  there  remain  little 
knobs,  depressions,  or  irregularities,  that  will  not 
readily  remove  from  the  mould.  The  Pine  Apple  will 
afford  an  illustration  of  fruit  for  which  a  .sectional 
mould  will  be  necessary.  The  following  remarks  upon 
various  objects  of  this  kind,  added  to  the  preceding 
instructions,  will  render  equally  familiar  the  making 
moulds  more  complex  than  those  hitherto  described. 

Moulds  of  the  Pomegranate  and  Medlar.  —  The  Pome- 
granate, which  is  produced  from  a  splendid  crimson 
flower,  is  well  known  to  be  a  hard-shelled  fruit.  The 
stalk  end  of  this  flower  expands  afterwards  into  the 
fruit,  while  the  other  end,  the  outer  part  of  which 
forms  at  first  a  five-cleft  calyx,  remains  attached,  and 
becomes  hard  like  the  rest  of  the  fruit.  In  making  a 
mould  of  a  perfect  fruit  then,  this  part  must  be  care- 


WAX   FBVIT.  23 

fully  preserved,  and  imitated  in  the  model ;  and  it  is 
necessary  to  make  first  a  mould  of  this  part,  as  if 
distinct  from  the  rest.  To  do  this,  first  grease  the 
fruit  well  around  the  top,  then  tie  round  the  calyx  here 
alluded  to  a  piece  of  paper  as  an  edging,  pour  into 
this  some  mixed  plaster,  first  resting  the  fruit  upright ; 
it  will  be  caught  by  the  paper,  and  mould  the  top  of 
the  fruit.  When  hard,  trim  it  up  a  little,  cutting  all 
away  which  comes  on  the  outside  of  the  five-leaved 
calyx,  leave  it  an  inch  projecting  on  the  top,  and  cut 
this  to  the  shape  shown  at  A.  In  this  piece  it  will 
be  seen  that  there  is  a  cross  notch,  or  a  hole  which 
will  do  as  well,  the  object  of  which  is  to  show  better 
how  it  fits  the  parts  afterwards  to  be  made. 


This  part  being  made,  grease  it  well  on  one  half, 
as  well  as  the  fruit  itself  for  one  half  or  more,  lay  it 
thus  greased,  nearly  half  buried  in  the  sand,  as  if  for 
making  a  two-part  mould,  taking  care  that  no  part 
above  the  sand  shall  have  been  left  ungreased.  Then 


24  WAX    FRUIT. 

proceed,  as  before  directed,  to  form  two  half  moulds, 
burying  up,  in  so  doing,  the  plug  which  was  first 
formed,  and  if  it  has  been  cut  to  a  proper  shape,  it 
will  at  times  be  held  fast  in  its  place  when  the  mould 
is  empty.  Sometimes  the  part  of  the  calyx  remaining 
on  the  ripe  fruit  is  so  closed  up,  or  united  together, 
that  it  is  not  necessary  to  take  this  trouble,  but  in 
this  case  the  mould  may  be  made  in  two  parts,  like 
those  of  the  apple  or  pear. 

The  open  calyx  of  the  Medlar  requires  the  same 
method  to  be  pursued  as  recommended  for  the  pome- 
granate, and  the  fruit  being  rough,  requires  also 
greasing.  An  unripe  medlar  is  the  easiest  to  cast 
from,  but  a  ripe  and  much  bruised  one  is  the  most 
natural.  It  is  seldom  that  a  medlar  is  made  in  wax. 

Mould  of  a  Cucumber  and  an  Egg.  —  The  mould 
of  a  Cucumber  is  usually  of  three  parts,  as  the  knobs 
upon  it  will  not  allow  it  to  be  drawn  from  a  two-part 
mould.  We  premise,  of  course,  that .  a  person  would 
usually  choose  a  long,  bent,  and  irregular  Cucumber 
to  imitate ;  with  such  a  one,  proceed  as  follows :  — 
Bury  it  in  the  sand,  so  that  rather  more  than  one 
third  of  it  remain  above,  then  place  the  tin  around  it 
(and  here  a  great  advantage  is  found  in  tin  over* 


WAX    FRUIT.  25 

paper,  it  bending  readily  to  the  shape  of  the  Cucum- 
ber), yet  it  may  happen  that  two  lengths  of  tin  are 
necessary ;  if  so,  place  them  so  as  to  overlap  each 
other,  and  put  a  piece  of  string  around  them,  if  neces- 
sary, to  keep  them  together ;  mix  and  pour  the  plaster, 
let  it  get  partly  hard,  remove  the  tin,  take  up  the 
mould  and  fruit,  and  trim  the  former,  so  that  it  shall 
be  the  mould  of  about  one  third  of  the  fruit,  and 
make  the  proper  connection  holes,  as  before  directed. 
A  cross  section  of  this  part  finished  is  shown  at  A 
in  the  cut.  Next  grease  rather  more  than  half  this 
new  formed  third  mould,  and  put  it  perpendicularly 
sideways,  fruit  and  all,  into  the  sand,  as  shown  at  B. 
Surround  the  fruit  part  of  it  with  the  tin,  so  that 
when  the  plaster  is  next  poured,  it  shall  cover  half  or 
rather  more  of  the  unmoulded  part  of  the  fruit,  being 
stopped  on  one  side  by  the  tin,  and  on  the  other  by 
the  first  part  formed.  Take  it  up  when  set  enough, 
remove  the  two  moulds  from  the  fruit,  and  trim  up 
the  newly-formed  piece,  taking  care  that  you  do  not 
break  or  disturb  the  edge  which  adjoins  the  other 
mould.  When  trimmed,  grease  the  new  piece,  put  it 
with  the  former  piece  over  the  fruit,  and  grease  the 
other  edge  of  the  first  formed  piece,  surround  the 
whole  with  paper  or  tin,  and  pour  the  plaster  upon  it 
3 


26  WAX    FRUIT. 

as  before.  "When  set,  it  may  be  taken  apart,  and  the 
fruit  taken  out.  The  three  parts  united  will  form  a 
perfect  mould  of  the  Cucumber.  The  mould,  before 
the  last  addition  has  been  made  to  it,  will  resemble 
in  section  the  cut  at  C.  A  longitudinal  mould  in  its 
first  stage  is  seen  at  D. 


An  Egg  had  better  be  moulded  in  three  pieces,  as 
it  will  seldom  deliver  well  in  two  pieces.  This  object 
being  always  procurable,  and  less  unyielding  than  a 
Cucumber,  is  an  easy  and  good  object  to  practise 
upon. 


Mould  of  a  Mulberry,  Raspberry,  &c.  —  These  fruits 
require  to  be  moulded  in  the  same  way  as  the  Cucum- 
ber. Sometimes,  however,  the  Raspberry  may  be  made 
in  two  pieces ;  in  this  case  one  half  must  enclose  the 
point  of  it  up  to  the  thickest  part,  and  the  other,  the 
stalk  end,  to  meet  the  former.  When  made  in  three 


WAX    F.RUIT.  27 

parts,  the  first  part  should  enclose  the  stalk  end  of  the 
fruit  up  to  the  thickest  part  of  it,  and  the  other  two 
moulds  should  be  made  sideways.  A  Mulberry  should 
be  made  in  four  pieces,  each  containing  a  quarter, 
and  so  placed  as  to  confine  the  fruit  from  end  to  end. 
No  moulds  are  more  troublesome  than  those  of  the 
mulberry  and  raspberry,  on  account  of  the  soft  pulpy 
character  of  the  fruit,  and  the  consequent  difficulty  of 
trimming  up  the  moulds  properly,  or  removing  them ; 
also,  if  bruised,  the  juice  is  very  apt  to  impair  the 
strength  of  the  mould. 

1 
Pine  Apple.  —  This  is  a  fruit  not  difficult  to  mould, 

although  it  requires  four  or  more  pieces.  First,  cut 
off  the  stalk  and  pull  out  the  top  leaves ;  bury  the 
whole  of  the  fruit  in  sand,  except  a  circle  of  about 
two  and  a  half  or  three  inches  at  the  top  or  leafy- 
end,  pour  plaster  on  this  part  after  slightly  oiling  it, 
and  surrounding  it  with  tin';  let  it  set,  take  off  this 
plaster  piece  from  the  fruit,  trim  it  up,  and  be  careful 
not  to  cut  the  edge  where  it  touched  the  sand  in 
a  straight  line,  but  in  notches,  so  as  to  agree  with 
the  square  or  irregular  portions  which  the  fruit  itself 
consists  of,  and  which  for  this  part  will  be  seen  very 
readily,  by  the  irregularities  of  the  mould  itself.  It 


28  WAX    FRUIT. 

need  only  be  cut  thus  towards  the  inner  part.  You 
will  not  forget  to  make  four  or  five,  or  even  more, 
holes  with  the  point  of  the  knife  around  this  foot 
or  end  mould,  to  connect  it  well  with  the  pieces  after- 
wards cast.  This  part  being  greased,  put  it  again 
upon  the  Pine  Apple,  and  the  latter  being  cleaned 
from  sand,  place  the  two  together  lengthways  in  the 
sand,  leaving  rather  more  than  one  quarter  above. 
Cast  this  upper  quarter  as  before  directed;  trim  it  up, 
grease  it,  and  cast  adjoining  this  and  the  foot  mould, 
a  second  quarter  of  the  fruit,  then  the  third,  and 
afterwards  a  completing  one,  forming  altogether  five 
pieces.  A  string  had  better  be  tied  round  the  four 
sectional  moulds  to  keep  them  together.  Some  Pine 
Apples  mould  much  better  than  others. 

Sections  of  Fruit.  —  The  manner  of  making  moulds 
for  straight  sections  of  common  fruits  has  already  been 
described.  For  other  sections,  as  when  a  quarter  is 
cut  from  a  melon,  or  one  third  of  an  apple  or  an 
orange,  the  moulds  had  better  be  of  three  parts,  the 
part  cut  out  forming  the  first  part  cast,  and  for  this 
we  need  only  surround  the  fruit  with  a  piece  of  paper, 
tying  it  on ;  it  must  be  put  in  the  sand  to  cast  the 
second  piece. 


WAX    FRUIT.  29 

Moulds  of  Small  Fruit.  —  Small  fruit,  such  as  Straw- 
berries, Raspberries,  &c.,  are  generally  cast  solid ;  the 
method  pursued  for  larger  fruit  being  scarcely  appli- 
cable to  them.  It  is  therefore  requisite  to  bore  a 
hole  through  one  portion  of  the  mould  to  pour  the 
melted  wax  in.  This  hole  should  taper  downwards 
like  a  funnel,  and  must  be  made  at  such  a  part  that 
it  will  not  injure  the  appearance  of  the  fruit ;  for  ex- 
ample, at  the  stalk  end  of  the  fruit,  as  it  will  in  the 
strawberry,  &c.,  be  hidden  by  the  calyx  afterwards  to 
be  put  over  it.  The  hole  to  pour  the  wax  in  should 
not  be  made  in  the  Cherry,  as  the  fruit  is  so  smooth 
and  shiny  that  it  is  very  difficult  to  hide  the  place. 

Grapes,  Currants,  and  other  fruit  of  the  like  kind,  is 
never  moulded,  but  made  by  glass  balls,  as  afterwards 
described. 

Other  Objects.  — In  the  same  manner  that  the  moulds 
of  fruit  are  made,  may  be  made  moulds  of  many  other 
objects,  as  stems  and  leaves  of  many  of  the  Cactuses, 
Stapelias,  and  other  succulent  plants. — radishes,  onions, 
confectionery  articles,  dolls  and  figures,  moulds  for  the 
electrotype,  &c. 


30  WAX    FRUIT. 


CASTING     THE    FRUIT. 


)R  casting  the  fruit  in  the  moulds,  the 
following  articles  will  be  required :  — 
A  wash-hand  basin  of  cold  water,  an- 
other of  hot  water,  two  or  three  tin 
saucepans,  or  other  vessels,  with  spouts,  to  melt  the 
wax  in,  a  towel,  and  the  following  colors  in  fine 
powder,  or,  better  still,  ground  in  oil,  such  as  artists 
use,  and  which  are  usually  sold  by  the  tube,  viz., 
light  chrome  yellow,  lake,  Prussian  blue,  and  raw 
umber ;  also,  some  red  lead  in  powder,  and  a  suffi- 
ciency of  wax.  The  best  wax  is  not  necessary,  the 
remaining  pieces  of  half-burnt  wax  or  composition 
candles  will  do  equally  well,  besides  which,  the  wicks 
of  the  candles  is  the  best  material  for  the  stalks  of 
many  fruit.  A  bone  knife  or  a  teaspoon  is  also 
necessary  to  stir  up  the  melted  wax.  Thus  furnished. 


WAX    FRUIT.  31 

set  to  work  as  follows :  The  method  being  exactly 
the  same  for  every  fruit  which  is  to  be  cast  hollow ; 
the  color  alone  differs,  and  this  must  be  always  in 
accordance  with  the  fruit,  observing  that  the  lightest 
color  of  the  fruit  is  that  to  be  imitated ;  the  spots, 
darker  tints,  streaks,  &c.,  are  to  be  put  on  afterwards. 
First,  we  will  commence  with  an  orange. 

Casting  an  Orange.  —  Prepare  the  mould  by  soak- 
ing it  for  ten  minutes  in  water  as  hot  as  the  hand 
can  conveniently  bear.  While  the  mould  is  soaking, 
melt  a  sufficiency  of  the  wax ;  when  melted,  put  in  a 
little  red  lead  in  powder ;  stir  it  up  well ;  then  take 
out  the  mould  from  the  water,  wipe  it  dry  on  the 
surface,  but  without  rubbing  it,  lest  you  should  rub 
out  the  fine  irregularities  on  the  inside  of  the  mould, 
which  constitute  the  beauty  of  the  fruit.  The  mould 
will  now  be  penetrated  with  water,  but  without  having 
the  surface  wet,  thus  preventing  the  wax  sticking  to  it. 
Thus  ready,  hold  one  half  the  mould  in  the  left  hand, 
nearly  fill  this  half  side  with  the  melted  wax  just 
stirred  up,  taking  care  that  none  of  it  has  run  over 
the  edge  or  joint,  put  the  other  half  of  the  mould  on 
it,  squeeze  the  two  pieces  tight  together  with  the  hands, 
and  still  holding  them  tight,  turn  them  over  and  over 


32  WAX   FEU  IT. 

in  every  manner,  so  that  the  melted  wax  shall,  before 
it  congeals,  pass  equally  over  the  whole  internal  sur- 
face of  the  mould.  The  mould  being  warm  with  the 
water,  and  still  further  warmed  by  the  wax,  it  would 
take  perhaps  ten  minutes  before  the  whole  were  con- 
gealed ;  to  save  time,  you  must  have  recourse  to  the 
basin  of  cold  water,  and  dip  your  hands  and  the  mould 
in  the  water,  still  turning  it  about,  thus  keeping  it 
immersed,  and  turning  it  for  two  or  three  minutes, 
the  wax  will  have  become  hard,  which  may  be  known 
by  shaking  it,  and  the  same  time  listening  whether 
there  is  the  sound  of  a  liquid  within.  If  set,  leave  it 
to  rest  for  a  few  minutes  in  the  cold  water.  Then 
the  halves  of  the  mould  may  be  pulled  off,  and  the 
orange  will  be  found  perfect  in  form,  and  of  a  natural 
color.  The  only  thing  now  to  be  done  is  to  take  off 
with  a  penknife  any  mark  of  the  joint  of  the  mould, 
and  if  the  knife  itself  leaves  a  mark,  smooth  it  off 
with  a  bit  of  rag,  damped  with  turpentine. 

Casting  other  Fruit.  —  The  other  fruit,  which  require 
no  after-coloring,  or  which  are  finished  when  cast  and 
trimmed  up,  are  the  Walnut,  Lemon,  and  perhaps  some 
others.  For  the  Lemon,  the  wax  is  to  be  colored  with 
chrome  yellow  ;  for  the  Walnut  and  Medlar,  raw  umber 


WAX    FRUIT.  33 

may  be  added  to  it ;  for  the  pomegranate  and  chestnut, 
burnt  umber  is  better.  The  Strawberry,  Raspberry,  and 
Cherry  may  be  cast  white,  or  some  of  them  lake  and 
white.  The  Egg  Plum,  and  several  of  the  Pears  and 
Apples,  may  be  yellow.  The  innumerable  shades  of 
green  may  be  formed  of  different  admixtures  of  chrome 
yellow  and  Prussian  blue.  For  the  Mulberry  and  dark 
Plums,  use  Prussian  blue  and  lake,  in  different  pro- 
portions. The  pine  apple  is  to  be  yellow ;  the  banana 
a  dark  green  or  a  yellow,  according  to  the  sort  or 
ripeness  of  the  fruit.  Gooseberries  of  various  colors,  — 
for  the  dark-red  gooseberry,  you  may  mix  together  lake 
with  a  little  raw  or  burnt  umber.  Filberts  are  to  be 
cast  green  ;  so  are  Melons.  Quinces,  a  bright  yellow. 
Greengage  Plums,  a  very  light  bluish  green.  All  fruit, 
of  which  a  part  is  cut  off,  is  to  be  cast  of  the  color  of 
the  inner  flesh,  which  is  seen ;  of  the  Orange,  this  is 
yellow  ;  of  the  Apple,  white ;  of  the  Melon,  salmon- 
colored,  made  by  red  lead  and  chrome  yellow ;  in  this 
case,  notwithstanding  the  general  direction,  the  Melon 
had  better  be  cast  green,  and  the  flesh  painted.  Of 
the  Pomegranate,  the  seeds  within  are  seen  to  be  a  fine 
scarlet.  The  colors  of  other  fruit  will  easily  suggest 
themselves. 


34  WAX   FEU  IT. 

Stalks.  —  All  moulds  which  have  been  made  with 
the  stalks  of  the  fruit  remaining,  and  these  are 
chiefly  Peas,  Cucumbers,  or,  in  a  few  cases,  Apples, 
must  have  these  stalks  on  the  part  where  the  moulds 
join,  and,  in  casting,  or  rather  previous  to  casting, 
a  piece  of  twisted  cotton,  with  a  wire  in  it,  must  be 
laid  in  the  proper  part,  so  as  to  project  into  the  fruit ; 
when  the  latter  is  cast,  the  cotton  will  be  fixed  to  its 
place.  Stalks  that  are  put  in  after  the  fruit  is  cast, 
will  meet  with  our  attention  hereafter,  as  it  does  not 
belong  to  the  casting. 

Solid  Fruit.  —  Small  fruit  cannot  be  well  cast  in 
the  above  manner.  The  best  pf^cess,  then,  is  to  tie 
parts  of  the  mould  together,  and  pour  the  wax  through 
a  hole  at  the  top,  until  the  mould  is  full ;  then  place 
this  in  cold  water,  but  not  so  that  the  water  can  run 
into  the  hole  at  the  top ;  let  it  stop  a  minute,  then 
pour  out  again  all  the  wax  not  congealed,  so  that  the 
fruit  will  be  solid  or  not,  according  to  the  manage- 
ment pursued. 


WAX    FRUIT.  35 


FINISHING    THE   FRUIT. 


FTER  the  wax  fruit  are  cast,  they  re- 
quire first  to  have  the  mark  or  ridge 
left  by  the  joints  of  the  mould  carefully 
pared  off  with  a  penknife,  and  then 
generally  the  knife-marks  smoothed  off  with  a  small 
piece  of  rag  dipped  in  turpentine  or  spirits  of  wine ; 
very  numerous  fruits  will,  after  this  simple  operation, 
be  quite  finished,  as  the  Orange,  Lemon,  Walnut,  and 
all  other  fruits  which  are  of  uniform  color.  The 
beauty,  however,  of  most  fruits,  lies  not  merely  in 
their  shape,  but  upon  a  correct  imitation  of  their 
bloom,  rosiness,  down,  streaks,  specks,  and  so  on ; 
and  in  imitating  these  properly  consists  the  only  diffi- 
culty of  .wax-fruit  making.  The  materials  now  re- 
quired are  various  colors,  as  carmine  in  powder,  to- 
gether with  the  same  colors  used  in  casting ;  also, 


36  WAX    FRUIT. 

there  will  be  required  a  small  piece  of  flannel,  two 
or  three  camel's  hair  brushes,  thin  wire  covered  with 
green  silk  for  the  stalks  of  Cherries,  and  a  little  green 
paper  colored  on  both  sides,  for  the  calyx  of  Straw- 
berries and  Raspberries,  a  few  cloves  for  the  flower 
end  of  an  apple,  a  bottle  of  mastic  varnish,  some 
powder  blue  for  the  bloom  of  Plums  and  Grapes,  and 
some  white  or  yellowish  down  for  the  mealiness  of 
Greengages,  Peaches,  &c. ;  this  is  of  three  kinds,  one 
is  arrow-root,  this  is  the  most  inferior ;  the  second  is 
paper  powder,  made  by  scraping  white  paper  away 
with  a  penknife ;  the  third  is  white  flock,  procured  at 
the  paper  stainers,  or  it  may  be  made  by  cutting  up 
into  a  very  fine  powder  a  piece  of  fine  kerseymere,  or 
other  fine  wollen  cloth,  and  sifting  the  cuttings. 

To  Prepare  the  Fruit  previous  to  Coloring.  —  The 
cast  having  been  trimmed  up,  sometimes  requires  to 
be  stalked,  &c.  Pears,  Melons,  Cucumbers,  &c.,  as 
already  observed,  may  generally  be  cast  with  the 
stalks  on,  using  the  cotton  wicks  of  the  wax  candles, 
cut  to  twice  the  intended  length,  and  with  a  piece  of 
wire  inserted  in  each.  Apples,  Plums,  Cherries,  and 
some  other  fruits,  should  have  this  stalk  inserted  after 
the  fruit  is  cast,  and  before  it  is  colored.  Some 


WAX    FRUIT.  37 

should  have  the  stalk  inserted  last  of  all,  as  the 
Strawberry  and  the  Raspberry.  The  stalk  of  the 
Apple,  &c.,  may  be  made  of  wire  covered  with  silk, 
and  to  give  it  a  natural  appearance,  it  may  be  dipped 
in  melted  wax.  When  thus  made,  thrust  it  into  the 
proper  part  of  the  fruit.  If  the  stalk  does  not  hold 
fast,  unroll  the  stalk  fpr  about  a  quarter  of  an  inch, 
hold  this  part  in  the  candle  till  the  wax,  which  is 
over  the  silk,  just  begins  to  melt.  Thrust  it,  while 
thus  warm,  into  the  fruit,  which  hold  upside  down, 
so  that  the  stalk  shall  be  lowest,  till  the  wax  around 
it  is  congealed.  The  stalk  may  afterwards  be  painted 
to  imitate  Nature  more  accurately.  Apple,  plum,  and 
damson  stalks  are  generally  bent ;  cherry-stalks  two 
inches  long,  and  nearly  straight.  The  eye  end  of  an 
apple,  pear,  and  quince,  has  the  remains  of  a  five- 
leaved  calyx  which  once  enclosed  the  flower.  This 
is  very  readily  imitated  by  the  spice  called  a  clove. 
Put  one  of  these  on  the  bar  or  hob  of  a  stove  to  get 
hot ;  then,  while  hot,  thrust  it  into  the  apple,  holding 
the  fruit  that  side  downwards  till  set  hard.  Some 
persons  dip  these  cloves  into  the  melted  wax  of  the 
same  color  as  the  fruit  previous  to  inserting  them. 
To  do  this  conveniently,  a  needle  or  pin  is  thrust  into 
the  head  of  the  clove  previous  to  dipping,  that  it  may 
4 


38  WAX    FRUIT. 

not  soil  the  fingers.  "When  the  cloves  are  dipped, 
there  should  be  a  hole  made  for  their  reception, 
otherwise  the  wax  will  be  borne  up  as  they  are 
thrust  down,  occasioning  a  disagreeable  appearance, 
and  which  superfluity  is  not  very  readily  removed 
without  disturbing  the  clove.  Observe  that  stalks  are 
always  to  be  made  of  a  green  color  at  first,  unless 
cast  with  the  fruit,  as  in  the  case  of  a  pear,  when 
they  may  be  cast  yellow  like  the  pear  itself.  All  of 
the  orange  tribe  have  very  dark  stalks ;  it  is  only 
young  oranges  that  should  have  stalks.  The  cherry 
stalk  is  formed  light  green,  and  tinted  darker  after- 
wards by  rubbing  over  it  a  little  brown  in  powder. 

Coloring  Sections  of  Fruit.  —  The  internal  part  of 
fruit  is  generally,  if  not  always,  of  a  very  different 
color  from  the  exterior.  Thus  the  outside  of  the 
Walnut  is  brown,  the  kernel  white,  or  with  its  skin 
on  it  cream  color.  The  rind  of  an  Orange  is  much 
darker  than  the  pulp.  The  flesh  of  an  Apple  or  Pear 
is  generally  white,  while  the  peel  is  yellow,  brown, 
or  green.  In  casting  a  section  in  wax,  a  difficulty 
may  arise  from  these  causes ;  yet  a  little  thought  and 
patience  will  readily  overcome  it.  The  fruit,  if  cast 
all  at  one  time,  should  generally  be  cast  of  the  lighter 


WAX    FRUIT.  39 

color,  and  the  other  color  painted  on  afterwards,  ac- 
cording to  Nature ;  thus  of  the  half  orange,  we  should 
cast  it  yellow,  and  afterwards  paint  the  pips  (if  visible) 
white,  and  the  rind  orange  color,  made  chiefly  of  red 
lead.  It  is  often  advisable  to  cast  the  fruit  in  two 
sections.  To  do  this,  the  following  hints  may  suffice : 
First,  take  the  flat  part  of  the  mould,  or  that  which 
represents  the  flesh ;  pour  upon  it  a  little  wax,  colored 
of  the  proper  tint,  trim  it  so  as  to  take  away  any 
films  of  wax  that  would  interfere  with  the  joint  of 
the  two  moulds  when  put  together ;  then  partly  fill 
the  other  or  deeper  side  of  the  mould  with  the  dif- 
ferent color  for  the  rind,  unite  the  two  together,  and 
turn  them  about  till  the  whole  wax  is  set,  as  before 
directed.  The  cast  will  now  be  complete  as  to  the 
colors  of  the  two  parts.  A  Walnut  will  have  two  deep 
moulds,  one  of  the  half  shell,  the  other  of  the  half 
kernel  of  the  opposite  part  of  the  nut'.  First,  cast  the 
kernel  side,  to  the  open  half  mould ;  fill  the  mould  with 
the  cream-colored  wax,  not  made  too  hot ;  when  a 
little  set,  pour  out  what  is  not  wanted ;  cut  it  clean 
across  the  edge.  Next,  nearly  fill  the  other  half  mould 
with  brown  wax,  unite  the  two  together,  turn  them 
about,  and  let  it  settle  with  the  shell  side  down- 
wards ;  a  fine  and  natural  cast  is  obtained  by  this 


40  WAX    FRUIT. 

« 

means.  If  you  desire  to  cast  walnuts  solid,  let  the 
hole,  where  the  wax  is  to  be  poured  in,  be  in  the 
middle  of  one  of  the  shells.  Upon  this  principle  the 
sections  of  all  fruit  may  be  cast  in  very  nearly  their 
proper  colors,  whether  the  sections  be  of  a  piece  cut 
off,  or  a  piece  cut  out. 

Putting  on  a  Rosy  Tint.  —  The  fine  scarlet  hues  of 
ripeness  are  very  easily  put  on ;  indeed,  as  easily  as  a 
lady  of  ancient  days  would  rouge  her  cheeks,  and  in 
much  the  same  manner ;  all  that  is  requisite,  is  to 
take  up  a  little  of  the  powdered  carmine  on  a  small 
piece  of  flannel,  and  rub  it  gently  and  regularly  over 
such  part  of  the  fruit  as  is  to  be  thus  ornamented ; 
it  will  soon  communicate  all  the  effect  desired.  The 
bloom  may  thus  be  given  to  the  Newton  Pippin  and 
many  other  apples,  to  the  white-heart  Cherry,  some  of 
the  summer  Pears,  the  Peach  and  Apricot,  and  very 
slightly  to  the  green  and  yellow  Plums. 

Putting  on  Streaks,  Specks,  and  Irregular  Patches. — 
All  these  things  must  be  done  with  the  proper  colors, 
mixed  with  mastic  varnish,  spirit  varnish,  or  tur- 
pentine, and  sprinkled  or  else  laid  on  with  a  sable 
or  camel's  hair  brush.  To  accomplish  this  with  facility 


WAX    FRUIT.  41 

and  truth,  a  little  practice,  guided  by  observation  and 
taste,  will  effect  more  than  the  most  minute  instruc- 
tions. Indeed,  it  is  like  painting  in  general,  so  purely 
a  mechanical  process,  that  all  we  could  say  upon  the 
matter  would  be  almost  useless.  The  beauties  and  blem- 
ishes, whichever  they  may  be,  that  constitute  the  streaks 
and  specks  upon  fruit,  are  almost  always  scarlet  or 
carmine,  the  brown  of  raw  umber,  or  some  mixture 
of  these  two.  For  ribstone  Pippins,  and  some  other 
apples,  lake  is  to  be  preferred  to  carmine ;  white- 
heart  Cherries,  when  over-ripe,  have  irregular  specks 
or  patches  of  brown  upon  them.  The  green  and 
yellow  Plums,  green  Grapes,  Apricots,  and  Peaches 
have  specks  more  or  less  crimson,  tempered  a  little 
with  brown.  The  decay  spots  of  apples  and  pears  are 
brown  only,  the  streaks  of  ripeness  are  red.  Irregular 
spottiness  may  be  produced  thus :  Mix  carmine  or 
other  color  with  turpentine,  spirits  of  wine,  or  varnish, 
so  as  to  be  very  weak  of  color ;  take  up  a  little  in  a 
hard  tinting  brush,  such  as  is  used  in  coloring  wax 
for  flowers ;  hold  this  charged  brush  at  a  little  dis- 
tance, draw  a  pen  through  it,  so  as  to  spurt  or 
sprinkle  the  color  upon  the  fruit ;  it  will  of  course  lie 
in  specks,  and  produce  a  good  and  natural  effect. 
The  effect  is  much  heightened  sometimes  by  putting  a 
4* 


42  WAX    FRUIT. 

blush  over  the  fruit  first,  or  by  wetting  it  with  tur- 
pentine. The  specks,  by  this  means,  flow,  in  some  de- 
gree, into  each  other,  become  softened  around  their 
edges,  or  run  partly  into  streaks.  The  seeds  of  a 
strawberry  are  colored  by  painting  them  with  bright 
chrome  yellow.  A  Chestnut  is  cast  in  raw  umber,  and 
colored  with  burnt  umber. 

To  put  a  Downiness  or  Powdering  upon  Fruit.  — 
One  of  the  powders  mentioned  on  the  36th  page  is 
adapted  for  this  purpose.  Suppose  that  you  desire  to 
put  on  the  mealiness  which  is  so  visible  upon  a 
peach,  you  would  first  color  one  side  of  it  with  a 
red  blush,  to  show  the  ripeness  of  that  part  which 
has  been  exposed  to  the  sun,  and  which  will  generally 
be  over  one  half  of  the  fruit.  This  being  done,  take 
in  the  palm  of  the  hand  a  small  quantity  of  white  or 
slightly  yellow  flock,  put  the  fruit  upon  this,  and  roll 
it  along  with  the  flock  between  the  hands,  until  suffi- 
ciently and  equally  covered  with  the  fine  woolly  par- 
ticles. It  should  be  done  over  a  sheet  of  paper,  that 
none  of  the  flock  be  wasted.  If  it  is  an  Apricot  to 
be  covered,  use  an  orange,  or  rather  buff-colored  flock, 
or  else  the  white  flock  mixed  with  dark  chrome  yellow 
in  powder.  Dark  Grapes  and  dark  Plums  are  to  be 


WAX    FEU  IT.  43 

dusted  over  with  powder  blue  from  a  muslin  bag,  and 
green  grapes,  plums,  &c.,  with  arrow-root  in  the  same 
manner  ;  but  as  the  arrow-root  has  always  a  cold  and 
raw  appearance,  and  is  too  white  to  be  natural,  it  is 
better  to  use  hair  powder,  which  has  been  rubbed  up 
with  a  slight  quantity  of  a  greenish  yellow  powder 
of  any  kind. 

If  a  person  is  not  furnished  with  oil  or  powder 
colors,  and  dislikes  the  use  of  varnish  or  turpentine, 
he  may  use  for  all  purposes  of  finishing  the  cast  fruit 
the  ordinary  water  colors  of  the  paint-boxes,  rubbed 
up  in  the  customary  way  with  water,  to  which  a  drop 
or  two  of  ox-gall  has  been  added.  This  last  is  neces- 
sary to  make  the  colors  adhere  to  the  wax,  which  is 
of  a  greasy  nature.  It  is  to  be  observed,  however, 
that  fruit,  &c.,  colored  with  water  colors,  cannot  be 
washed,  as  that  may  which  has  been  finished  in  tur- 
pentine or  varnish. 

Varnishing  a  Fruit.  —  There  are  few  fruits  that  re- 
quire to  be  varnished  after  having  been  painted,  this 
finishes  the  process  respecting  them.  The  Lady  Apple, 
a  beautiful  little  American  species,  is  always  very 
glossy,  so  are  all  kinds  of  Cherries.  Many  fruits  may 
be  improved  and  rendered  glossy  by  gently  rubbing 


44  WAX    FRUIT. 

them  with  a  flannel,  and  this  rubbing  is  generally 
necessary  in  some  degree  with  all  fruit,  but  it  is  not 
sufficient  with  Cherries,  Strawberries,  Chestnuts,  the 
seeds  of  an  Apple  or  Pear,  the  flesh  of  a  Pomegranate^ 
Orange,  or  Apple.  These  and  other  things  of  the  like 
kind  are  to  have  one  coat  of  mastic  varnish,  laid  on 
with  a  soft  camel's  hair  brush  as  evenly  as  possible,  so 
as  to  show  no  ridges.  The  varnish  must  not  be  laid 
on  till  the  under-painting  is  quite  dry,  lest  it  should 
become  smeared. 


WAX    FRUIT. 


SMALL    CLUSTERED    FRUITS. 


NOT  MADE   BY  CASTING   NOR   IN   WAX. 

OME  few  Fruits  are  not  made  in  wax 
at  all,  nor  in  moulds,  and  yet  are  of 
such  a  character  as  to  add  greatly  to 
the  appearance  of  a  group  or  cluster. 
These  are  chiefly  Grapes  and  Currants,  and  which  are 
made  with  balls  of  glass  tied  together,  of  various  sizes, 
so  that  in  making  a  bunch  of  grapes,  you  may  select 
the  requisite  variety  of  size.  There  are  smaller  round 
ones  of  the  sizes  for  currants. 


To  make  Dark  Grapes.  —  First,  choose  three  or  four 
dozen  bulbs  from  the  smallest  to  the  largest  size. 
Next,  cut  a  corresponding  number  of  wires  for  stalks, 
about  two  inches  long  each  ;  these  should  be  made  of 
a  thin  wire  covered  with  green  silk,  of  such  a  size 


46  WAX   FRUIT. 

that   it   will   readily   enter   the   mouth   or   hole  of  the 

V 

glass  bulb.     Melt  some  wax,  and  color  it  purple  with 

<* 

Prussian  blue  and  lake,  putting  in  more  or  less  of  the 

one  or  the  other,  according  to  the  real  color  of  the 
grape.  These  must  be  in  a  saucepan  or  dish,  not 
less  than  an  inch  in  depth.  Dip  one  end  of  one  of 
the  intended  stalks  into  this  melted  wax,  and  insert  it 
into  the  mouth  of  the  glass  bulb,  and  hold  it  there  for 
a  minute,  till  it  is  well  fixed  by  the  congealing  of  the 
wax.  Fasten  the  whole  in  the  same  manner.  Now 
take  up  each  grape  separately  by  the  stalk ;  dip  the 
bulb  part  wholly  into  the  wax ;  take  it  out  instantly 
and  turn  it  up,  so  that  the  stalk  shall  be  underneath, 
and  consequently  any  drop  of  wax  there  may  be  will 
settle  around  the  stalk,  and  not  on  the  bulb  itself. 
In  a  minute  or  so,  the  grape  having  now  a  film  of 
wax  over  its  surface,  will  have  all  the  semi-trans- 
parency of  the  real  fruit.  The  whole  being  done  in 
this  way,  tie  them  together  in  a  natural  manner  by 
their  stalks,  observing  to  put  the  smallest  grapes  near 
to  the  bottom  of  the  bunch.  When  tied  together  and 
naturally  arranged,  sprinkle  slightly  over  them  a  little 
powder  blue  from  a  muslin  bag.  Finally,  rub  off  with 
the  finger  some  of  this  powder  blue  from  the  promi- 
nent parts,  as  if  the  grapes  had  been  handled  or 


WAX    FRUIT.  47 

rubbed  in  packing.     The  most  natural  way  to  do  this, 
is  to  roll  them  between  the  hands. 

To  make  White  Grapes.  —  The  only  difference  here 
is,  that  the  wax  used  both  for  fastening  on  the  stalks 
and  for  dipping  the  bulbs  into,  is  colored  a  light  yel- 
lowish green ;  and  when  finished,  the  grapes  are  to 
be  very  slightly  dusted  over  with  arrow-root  or  hair 
powder,  or,  for  some  grapes,  no  dusting  is  necessary. 

To  make  Currants  —  There  are  ten  or  twelve  Cur- 
rants in  a  bunch,  and  these  are  made  of  bulbs 
similar  to  those  for  grapes.  First,  put  short  stalks 
to  them  of  very  fine  green  wire ;  dip  them  for  White 
Currants  into  wax  slightly  tinged  yellow ;  for  Red  Cur- 
rants and  Black  Currants  the  same.  The  white  will 
require  no  painting ;  the  red  and  black  must  be  col- 
ored with  carmine,  or  with  a  dark  purple,  as  their 
natural  tint  requires ;  then  for  the  end  opposite  to  the 
stalk,  and  where  the  flower  has  been,  put  a  spot  of 
black  paint,  or  a  minute  bunch  of  black  or  brown 
wool ;  let  them  next  be  arranged  loosely  into  a  bunch, 
and  finally  varnished. 


48  WAX    FRUIT. 

GENERAL   OBSERVATIONS    ON  CASTING    WAX. 

The  wax  may  be,  and  often  is,  congealed  around 
the  hole  as  well  as  the  sides ;  in  this  case  it  is  evi- 
dent that  the  hole  must  be  cleared,  before  the  liquid 
within  can  escape  ;  it  is  scarcely  worth  while  to  pour 
any  out  of  a  Cherry,  Raspberry,  Mulberry,  or  other 
similarly  small  object.  In  casting  a  large  object 
through  a  hole,  there  should  only  be  a  small  quantity 
of  wax  allowed  to  congeal  first ;  in  a  few  minutes  a 
second  coat  may  be  poured  in,  and  afterwards  a 
third ;  this  method  will  prevent  cracking.  The  object 
of  the  water  to  soak  the  mould  in  at  first  and  between 
each  casting,  is  to  prevent  the  wax  and  mould  sticking 
together ;  and  the  reason  hot  water  is  preferred  is,  that 
it  may  not  congeal  the  wax  too  rapidly.  In  a  mould 
which  is  too  cold,  the  wax  will  often  settle  in  ridges 
or  streaks.  The  mould,  when  filled,  or  partly  filled, 
as  the  case  may  be,  is,  after  such  filling,  plunged  and 
turned  about  in  cold  water,  merely  to  hasten  the  con- 
gealing of  it.  Wax  should  be  melted  always  by  a 
very  slow  and  gentle  heat ;  the  heat  of  boiling  water 
is  always  sufficient ;  thus  a  common  glue  pot  is  an 
excellent  thing  to  melt  it  in.  This  is  to  be  attended 
to  for  two  reasons,  one,  because  if  too  hot,  it  will  be 


WAX    FRUIT.  49 

apt  to  adhere  to  the  mould,  and  also  because,  when 
any  color  lias  been  mixed  with  it,  this  color  becomes 
darker ;  especially  when  there  is  chrome  yellow  in  it, 
this  turns  by  heat  dark  olive.  If  great  toughness  is 
required  in  a  wax  cast  or  mould,  one  ounce  of  yellow 
rosin,  or  still  better,  of  Canada  balsam,  is  to  be  added 
to  every  pound  of  wax.  Wax  moulds  for  plaster- 
casting  or  the  electrotype  should  have  the  above,  and 
also  one  fourth  its  weight  of  flake  white  and  red  lead, 
mixed  together,  previous  to  melting.  Modelling  wax, 
and  that  used  for  wax  dolls,  hair  dresser's  blocks,  &c., 
are  colored  Avith  flake  white  and  vermilion,  the  latter 
in  very  small  quantity. 


Wax  is  sometimes  adulterated  with  white  lead,  tallow,  suet,  potato 
starch,  or  rosin.  "When  wax  is  bought,  it  is  proper  to  break  each  cake, 
for  it  is  not  unfrequently  the  case  that  some  impurities  are  in  the  centre, 
the  outside  only  being  good. 


ELASTIC  MOULDS. 

The  body  to  be  moulded,  previously  oiled,  must  be 
secured  one  inch  above  the  surface  of  a  board,  and 
then  surrounded  by  a  Avail  of  clay,  about  an  inch  dis- 
tant from  its  sides.  The  clay  must  also  extend  rather 
higher  than  the  contained  body :  into  this,  Avarm  melted 
glue,  as  thick  as  possible,  so  that  it  will  run,  is  to  be 
5 


50  WAX    FRUIT. 

poured,  so  as  to  completely  cover  the'  body  to  be 
moulded ;  the  glue  is  to  remain  till  cold,  when  it  will 
have  set  into  an  elastic  mass,  just  such  as  is  required. 

Having  removed  the  clay,  good  glue  is  to  be  cut 
into  as  many  pieces  as  may  be  necessary  for  its  re- 
moval, either  by  a  sharp-pointed  knife,  or  by  having 
placed  threads  in  the  requisite  situation  of  the  body 
to  be  moulded,  which  may  be  drawn  away  when  the 
glue  is  set,  so  as  to  cut  it  out  in  any  direction.  The 
portions  of  the  glue  mould  having  been  removed  from 
the  original,  are  to  be  placed  together  and  bound  round 
by  tape. 

In  some  instances  it  is  well  to  run  small  wooden 
pegs  through  the  portions  of  the  glue,  so  as  to  keep 
them  exactly  in  their  proper  positions.  If  the  mould 
be  of  considerable  size,  it  is  better  to  let  it  be  bound 
with  moderate  tightness  upon  a  board,  to  prevent  it 
bending  whilst  in  use ;  having  done  as  above  described, 
the  wax  is  to  be  poured  into  the  mould  and  left 
to  set.  The  wax  must  not  be  poured  in  whilst  too 
hot ;  as  it  cools  so  rapidly  when  applied  to  the  cold 
glue,  that  the  sharpness  of  the  impression  is  not 
injured. 

When  the  moulds  are  not  used  soon  after  being 
made,  treacle  should  be  previously  mixed  with  the  glue, 
to  prevent  its  becoming  hard. 


WAX    FRUIT.  51 

The  description  thus  given  is  with  reference  to  cast- 
ing those  bodies  which  cannot  be  so  well  done  by  any 
other  than  an  elastic  mould ;  but  glue  moulds  will  be 
found  greatly  to  facilitate  casting  in  many  depart- 
ments, as  a  mould  may  be  frequently  taken  by  this 
method  in  two  or  three  pieces,  which  would,  on  any 
other  principle,  require  many. 


TO    OBTAIN  AND    PREPARE   WAX. 

The  wax  should  be  put  in  a  moderately  fine  hair 
bag,  well  tied  up,  and  be  boiled  briskly  in  a  clean 
saucepan,  with  sufficient  water  to  Avell  cover  the  bag, 
and  half  an  ounce  of  aqua-fortis  to  each  quart  of 
water ;  a  weight  should  be  placed  upon  the  bag  to 
keep  it  down.  As  the  wax  rises  to  the  top  of  the 
water,  it  is  to  be  skimmed  off  with  a  spoon,  and  be 
put  into  a  pan,  and  when  no  more  rises,  the  bag  must 
be  pressed  by  having  a  flat  board  and  a  heavy  weight 
placed  on  it,  to  squeeze  out  any  wax  that  may  remain. 
The  wax  so  obtained  should  be  re-boiled  in  fresh 
water,  and  treated  the  same  way  as  before,  and  even 
a  third  boiling  may  be  necessary,  in  order  to  have  it 
quite  pure ;  after  the  last  boiling,  it  is  to  be  poured 
into  moulds  to  form  cakes.  The  quantity  of  aqua-fortis 


52  WAX    FEU  IT. 

at  the  second  boiling,  may  be  reduced  one  half;  and  if 
it  is  boiled  a  third  time,  it  may  still  further  be  re- 
duced to  the  same  extent.  If  wanted  white,  it  is 
bleached. 


TO    WHITEN   WAX. 

The  process  of  bleaching  wax  in  order  to  give  it 
that  beautiful  whiteness  which  it  has  in  commerce,  is 
effected  generally  by  chemical  means ;  but  it  may  be 
bleached  in  small  quantities  as  follows  :  Take  the  best 
and  cleanest  beeswax  you  can  obtain,  melt  it  in  hot 
water,  skim  it  off  into  a  cup  or  basin,  previously 
oiled,  when  quite  cold,  cut  the  wax  into  thin  slices, 
expose  these  to  the  action  of  the  sun  and  air  upon 
white  dishes,  sprinkling  it,  unless  there  be  rain,  once 
or  twice  a  day  with  clean  water ;  at  the  end  of  a 
week  melt  the  wax  again,  and  proceed  as  before.  In 
hot  weather,  the  wax  may  be  floated  on  water  in  the 
middle  of  the  day,  as  it  is  best  not  to  allow  it  to  melt. 


TO   CLEAN  A   BRUSH 

That    has    been    in    turpentine,    wash    it    with    hot 
water    and   soap  ;    and  if  it  has  been    used  in  varnish, 


WAX    FRUIT.  53 

cleanse  it  first  in  spirits  of  wine  for  spirit  varnish, 
and  turpentine  for  oil  varnish,  such  as  copal,  mastic, 
&c.  These  are  called  oil  varnishes,  although  made 
Avith  turpentine. 


TO   REMOVE    WAX  FROM  A   DRESS. 

It  not  unfrequently  happens,  that  when  wax  is 
melted,  some  is  spilt  on  the  dress ;  it  may  be  re- 
moved as  follows  :  Toast  the  crumb  of  a  small  piece 
of  bread,  and,  while  hot,  apply  it  to  the  droppings  of 
wax,  a  portion  of  which  it  will  absorb  and  take  up, 
and  by  repeating  this  process,  the  whole  wax  will  be 
gradually  removed. 

5* 


WAX   FLO  WE  US. 


WAX    FLO  WERS. 


O  understand  properly  the  making  of 
Models  of  Flowers  from  Wax,  we  must 
first  allude  to  the  materials  employed, 
then  to  the  procuring  of  proper  shapes 
or  patterns,  afterwards  to  the  fashioning  of  these 
materials,  cut  to  the  required  patterns  into  the  object 
to  be  imitated ;  and  finally,  the  natural  arrangement 
and  finishing  of  each  part,  the  decorating  it  with 
artificial  leaves,  tendrils,  &c.,  and  the  grouping  of  the 
whole  together  into  a  harmonious  contrast. 


ARTICLES   AND   MATERIALS   REQUIRED. 

The  materials  of  which  Imitative  Flowers  are  made, 
are  sheets  of  wax  of  many  different  colors,  to  form 
the  petals,  leaves,  &c.,  and  wire  of  different  thick- 
nesses covered  with  green  silk.  The  articles  used  to 


WAX    FLOWERS.  55 

fashion  and  color  the  flowers  are  curling  pins,  various 
dry  and  water  colors,  ox-gall,  tinting  brushes,  camel's 
hair  pencils,  a  pair  of  scissors  to  cut  the  wax,  shapes 
of  tin,  card,  or  stiff  paper ;  varnish  for  certain  flowers ; 
white  and  green  down  for  dusting  over  such  as  appear 
mealy.  If  the  waxen  sheets  are  made  at  home,  other 
trifling  articles  are  necessary ;  this  is  always  advisable 
with  those  who  consume  much  wax,  because  the  home- 
made sheets  do  not  cost  a  quarter  as  much  as  those 
bought,  and  also  because  the  person  making  these 
things  herself,  is  able  to  procure,  with  accuracy,  every 
tint  required,  and  to  make  her  wax  of  every  size  and 
thickness  ;  indeed,  we  never  knew  an  artist  who  could 
imitate  successfully  even  the  generality  of  flowers, 
much  less  the  extraordinary  ones, — as  the  Stapelias, 
the  Orchideous  plants,  &c.,  who  did  not  make  for  her- 
self all  the  wax  required.  It  is  right,  then,  first  to  de- 
scribe fully  this  process. 


Making  Sheets  of  Wax.  —  Have  ready,  at  the  com- 
mencement of  the  operation,  about  two  pounds  of 
white  wax,  a  portion  of  Canada  or  fir  balsam ;  the 
following  colors,  ground  in  oil,  or  else  in  a  dry  state j 
—  chrome  yellow,  light  and  dark,  Prussian  blue,  co- 


56  '    WAX    FLOWEJRS. 

bait  or  French  ultramarine  (the  former  is  the  best), 
carmine  and  Chinese,  or  permanent  white  ;  these  will 
make  every  tint  required.  You  will  want  also  a  small 
saucepan  Avith  a  lip,  or,  what  is  better,  two  sauce- 
pans, one  to  go  readily  into  the  other,  in  the  manner 
of  a  glue-pot ;  a  clean  glue-pot  is  itself  much  to  be 
preferred.  The  object  of  this  double  vessel  is,  that 
the  outer  one  should  have  water  put  in  it,  while  the 
inner  vessel  holds  the  wax,  thus  the  latter  being  melted 
by  the  heat  of  boiling  water  only,  never  burns,  boils 
over,  or  gets  discolored;  —  there  should  be  a  cover  over 
it.  The  next  thing  wanted  is  a  square  tin  mould, 
made  one  inch  deep,  two  and  a  half  inches  wide,  and 
five  or  six  long,  made  in  the  manner  of  a  cake  tin, 
with  a  wire  around  the  top.  This  is  all  that  is  re- 
quired for  casting  the  wax  first  into  blocks.  You  had 
first  better  make  some  white,  because  that  color  is 
more  used  than  any  other,  and  the  scraps  left  will 
cast  again  for  other  colors  ;  it  will  take  half  a  pound 
of  wax  to  fill  the  above  sized  mould,  and  the  block 
thus  made,  will  cut  up  into  five  or  six  dozen  sheets 
or  more.  The  vessel  that  holds  the  melted  wax  should 
be  glazed  porcelain  or  crockery,  and  should  not  be  used, 
particularly  if  white  wax  is  needed. 


WA  X    PL  O  WERS.  57 

White.  —  Cast  some  transparent,  and  others  a  little 
opaque ;  the  former  will  be  made  by  putting  half  a 
pound  of  wax  and  one  ounce  of  Canada  or  fir  balsam 
into  the  saucepan ;  then,  when  melted,  stirring  it  up 
well  with  a  bone  spoon,  or  a  piece  of  wood,  arid 
pouring  it  into  the  mould,  having  first  greased  the 
mould,  so  as  to  allow  it  to  be  separated  from  the 
tin,  it  is  then  ready  for  cutting  into  sheets.  If  it  is 
to  be  an  opaque  white,  stir  up  with  the  wax,  when 
melted,  more  or  less  of  the  permanent  or  Chinese 
white  ;  pour  it  when  of  a  uniform  color.  A  very  little 
white  will  suffice,  as  it  must  never  be  much  colored. 
The  wax,  when  ready  for  sheeting,  should  not  be  too 
hard  ;  say,  about  the  condition  of  new  bar  soap. 

Yellow.  —  Mix  with  the  transparent  wax  more  or 
less  chrome  yellow,  either  light  or  dark,  according  to 
the  tint  required.  There  are  generally  four  yellows 
made,  —  primrose  color,  light  yellow,  fit  for  certain 
carnations,  roses,  tulips,  &c.,  dark  yellow,  as  for  the 
jonquil  and  orange. 


58  WAX    FLOWERS. 

Pinks  and  Reds.  —  Color  with  different  quantities 
of  carmine  or  Chinese  vermilion.  It  may  be  made 
various  shades.  The  first  being  excessively  pale,  fit 
for  the  blush  rose ;  the  two  next,  ordinary  rose  colors ; 
and  the  darkest,  which  is  a  deep  red,  like  the  damask 
rose,  various  red  hyacinths,  &c. 

Blues.  —  There  are  but  two  colors  of  blue  wax 
usually  made,  one  by  a  light  blue,  colored  with  cobalt, 
the  other  a  full  tint,  formed  of  Prussian  blue  and 
wax.  The  first  is  for  light-colored  blue  hyacinth,  the 
other  for  dark  hyacinths,  and  some  of  the  companulas. 

Greens. — There  will  be  required  six  or  seven  differ- 
ent tints  of  green,  from  the  light  grass-green  of  the 
primrose  leaf,  to  the  deep  green  of  the  camellia,  they 
are  all  colored  by  the  different  admixtures  of  light 
chrome  yellow  and  Prussian  blue  or  chrome  green. 

There  are  numerous  other  colors  required,  but  they 
are  produced  by  coloring  the  white  wax  by  means 
afterwards  described.  This  is  chiefly  because  most 
flowers  which  are  colored,  are  not  alike  on  both  sides, 
and  are  generally  quite  white  towards  the  centre  of 
the  flower,  and  to  use  a  colored  wax  for  such  a  pur- 


WAX    FLO  WE  US.  59 

pose,  would  be  to  give  a  muddiness  that  would  entirely 
spoil  the  effect  of  the  tint.  Waxen  sheets  made  in 
the  above  manner  will  not  be  either  brittle  in  cold 
weather,  nor  too  yielding  in  hot,  nor  are  they  much 
altered  by  time. 

To  save  expense,  it  is  always  advisable  to  cut  into 
sheets  the  blocks  first  made  of  white  and  other  light 
color  before  any  darker  colors  are  made,  because  the 
scraps  and  spoiled  sheets  may  then  be  melted  again 
for  the  darker  tints ;  for  example,  scraps  of  primrose 
wax  will  melt  for  a  yellow  or  green ;  pink  for  a  red  ; 
yellow  for  an  orange ;  a  light  green  to  a  darker  tint ; 
and  so  on.  Also,  in  the  after  modelling  of  the  flow- 
ers, the  scraps  are  all  valuable.  If  Avax  is  frequently 
melted,  it  will  require  a  little  spirits  of  turpentine 
added  to  it. 

We  must  now  return  to  the  white  block  cast,  and 
show  how  it  is  to  be  cut  into  sheets.  First,  it  is 
necessary  to  have  a  stop  to  fasten  to  the  table  the 
lump  of  wax;  a  piece  of  wood,  three  inches  wide, 
and  of  which  the  following  is  a  section,  is  well 
adapted  for  the  purpose.  (See  cut  next  page.) 

A,  is  the  block  of  wax ;  B,  the  machine.  The  part 
CE  rests  on  the  table,  to  which  it  is  held  safely  by 
the  screw  D  ;  at  C,  is  a  cross  piece  of  wood,  which 


60  WAX    FLOWERS. 

prevents  the  block  of  wax,  represented  as  shaded  in 
the  cut,  from  slipping  off.  You  must  now  get  a  car- 
penter's shave,  called  a  spoke-shave  (and  those  are 
of  the  bes't  shape  which  are  used  by  coopers).  The 
wooden  part  which  slides  over  the  block  of  wax 


should  be  flat,  and  it  should  have  rather  a  wide 
mouth  or  orifice  where  the  iron  passes.  Grease  well 
the  iron  and  wooden  under-face  of  the  shave,  and 
then  force  it  along  the  wax,  so  as  to.  cut  off  a  thin 
slice,  to  make  the  surface  even.  This  first  slice  will 
not  be  fit  for  use,  nor  yet  perhaps  the  second  or  third. 
Soon,  proceeding  in  the  same  manner,  and  keeping  the 
tool  well  greased,  slices  or  sheets  will  be  cut  off  of 
equal  and  proper  thickness.  Such  as  are  good  must 
be  kept  for  use,  the  rest  re-melted. 

A  second  method  of  cutting  up  the  block,  is  to  hold 
it  in  the  hand,  and  force  it  along  the  greased  surface 
of  a  larger  wide-mouthed  carpenter's  plane. 

A   third   method,  which   may  be   pursued  by  every 


WAX    FLOWERS.  61 

body  without  expense,  is  to  have  a  number  of  pieces 
of  writing  paper  cut  rather  smaller  than  the  mould  in 
which  the  wax  has  been  cast.  Take  the  block  of  wax 
out  of  the  mould,  and  put  into  the  mould  as  much 
paper  as  will  just  raise  the  block  above  the  wired 
edge  of  the  tin  mould.  Then  fastening  the  mould,  wax 
and  all,  firmly  to  a  table,  either  by  resting  it  on  the 
stay  before  mentioned,  or  otherwise,  as  convenient;  cut 
the  top  off  even  by  a  thin  bladed  dinner  knife,  taking 
care  to  run  the  knife  steadily  along  the  edge  of  the 
mould.  Now  take  out  the  block,  and  put  in  a  piece 
of  paper  to  raise  it  up  ;  put  it  in  again,  and  you  can 
cut  off  a  sheet  equal  in  thickness  to  the  paper,  the 
same  operation  repeated  will  give  another  slice ;  and 
so  on,  raising  up  the  block  by  a  piece  of  paper  each 
time  after  a  piece  has  been  cut  off.  The  only  incon- 
venience here,  is  the  removal  of  the  block  of  wax 
each  time  from  the  casting  mould ;  to  prevent  this, 
the  stay  which  fixes  to  the  table  may  have  sides  to 
it,  when  it  is  proposed  to  cut  the  wax  by  a  knife, 
and  it  having  no  stop  at  one  end  of  it,  it  can  be 
taken  out,  and  a  piece  of  paper  put  beneath  it  with 
little  trouble.  If  it  be  required  to  have  long  leaves, 
like  those  of  a  hyacinth,  the  mould  to  cast  the  wax 
in  should  be  seven  inches  long,  and  one  inch  wide. 


62  WAX  FLO  WE  US. 

Colors  required.  —  The  ordinary  colors  used  in 
painting  flowers  on  paper,  will  also  be  required  in  imi- 
tating them  in  wax.  The  colors  should  all  be  trans- 
parent and  bright ;  browns,  blacks,  and  other  dark 
colors  are  rarely  ever  wanted.  For  black  we  recollect 
only  two  uses,  that  of  painting  the  anthers  of  the 
garden  tulip,  and  to  mix  with  carmine  for  the  very 
dark  rose,  but  even  in  this  last  case  it  is  not  neces- 
sary. The  most  useful  colors  are,  —  two  shades  of 
chrome  yellow,  smalt  (powder  blue),  and  Prussian 
blue  ;  carmine,  in  powder,  to  color  the  wax,  and  after- 
wards, where  necessary,  to  give  a  uniform  tint  to  the 
petals.  The  following,  in  cakes,  to  be  rubbed  in  the 
ordinary  way  of  water  colors,  but  with  a  little  color- 
less ox  gall,  to  make  the  colors  lay  upon  the  greasy 
surface  of  the  wax :  Cobalt,  carmine,  chrome,  burnt 
sienna,  sap  green,  Prussian  blue,  &c.  These  are  to 
be  laid  on  with  the  ordinary  camel's  hair  pencils,  and 
are  adapted  to  make  the  ornamental  marking  of  the 
flowers,  such  as  the  streaks  of  the  tulip  and  carnation. 

White  and  Green  Down.  —  Some  leaves  and  stalks 
have  a  certain  degree  of  mealiness  or  hairiness  about 
them,  which  it  is  desirable  to  imitate.  For  this  pur- 
pose, sometimes  a  white,  and  at  others  a  greenish  white 


WAX    FLOWERS.  63 

powder  is  used ;  any  of  those  recommended  for  waxen 
fruit  may  be  employed.  Green  flock  is  to  be  used  for 
the  hairiness  of  stems*  a^ahe  mealiness  or  glaucous 
white  color  of  the  leaves  of  the  carnation,  pink,  &c., 
may  be  made  of  hair  powder,  mixed  with  a  little 
Brunswick  or  other  green  in  a  state  of  powder,  they 
being  rubbed  together  through  a  lawn  or  muslin 
sieve,  to  incorporate  them  well,  and  thus  to  make  the 
color  uniform. 

Brushes.  —  The  tinting-brush    is  for    dry  colors;    the 
sizes  and  shapes  are  as  follows : 


Their  use  is  to  brush  over  the  various  shades  of 
wax  a  different  tint,  where  required ;  for  example, 
the  Eutoca  Viscida  is  a  flower  of  a  beautiful  blue 
color,  but  its  centre  is  white,  and  the  petals  are 
lighter  on'  their  under  side ;  therefore  it  must  be 
made  of  white  wax,  and  the  blue  color  put  on,  be- 
fore the  petals  are  united  together,  by  means  of  one 
of  these  brushes,  and  cobalt  or  ultramarine  blue  in 
powder.  The  cut  shows  the  point  of  two  different 
sized  brushes. 


64  WAX    FLOWERS. 

Patterns  and  Shapes.  — -  This  is  a  very  important 
matter,  but  presents  no  difficulty.  The  best  of  all 
patterns  is  the  flower  itself.  Procure,  if  you  can,  tw.p  C 
flowers  like  each  other ;  one  you  are  to  keep  perfect 
as  a  guide  in  making  up,  the  second  you  may  pull  to 
pieces,  which  will  enable  you  to  count  the  number 
of  the  petals,  to  see  their  exact  form,  color,  size,  and 
shape.  Take,  then,  one  of  each  of  the  various  parts, 
lay  it  upon  a  piece  of  white  paper,  and  mark  care- 
fully round  it  with  a  pencil,  so  also  of  all  the  other 
parts-  These  are  the  guides,  and  in  order  that  they 
may  be  available  another  time ;  you  should  write  upon 
each  the  number  required  of  them.  The  wax  of  proper 
color  must  then  be  selected,  cut,  colored,  and  moulded, 
according  to  these  patterns.  When  flowers  are  readily 
procured,  a  selection  should  be  made,  and  the  patterns 
preserved  for  after  use.  Next  to  real  flowers,  the 
paintings  of  them  of  a  natural  size  are  of  value,  as 
it  is  easy,  with  a  piece  of  tracing-paper,  to  take  off 
any  shape  required,  and  afterwards  to  cut  out  a  paper 
model  according  to  its  outline.  Having  mentioned  a 
paper  model,  it  may  be  stated  that  for  making  one 
flower  only,  a  paper  or  card  shape  will  do  very  well, 
but  if  a  number  are  to  be  made,  it  is  better  to  use 
thin  tin.  That  called  tag-plate,  and  which  is  used  for 


WAX    FLO  WERS.  65 

the    tags  of  laces,   is    the   thinnest,   and   will   cut  very 
readily  with  scissors.     At  many  places  are  sold  pieces 
of  tin  for  the  purpose,  but  besides  being  very   expen- 
sive,  they   are    by  no    means    correct,    and   imply   that 
every   individual   leaf,    bud,  or    floret   made   by    them, 
must  be  exactly  a  counterpart  to  all  the  others ;    thus, 
a  bunch   of  flowers,  all   exactly  alike,  as   the  May  or  ^ 
White  Thorn,  the  For-get-me-not,  the  Lilac,  &c.,  would  I 
look    extremely   formal,    however    well   they   were    ar- ) 
ranged ;    though   it   is   to   be    admitted,   that   these   tin 
shapes  very  much  diminish  the  labor  of  making  such 
flowers  as  we  have  named,  but  to  use  them  for  Dahlias, 
Roses,   &c.,  is  unnecessary  and  unadvisable.     The    fol- 
lowing shows  these  tin  shapes  for  four  flowers :    1  and 


2,  the  For-get-me-uot ;   3,  the  Veronica ;   4,  the  Lilac ; 

6* 


66  WAX    FLOWERS. 

5,  various  shapes  of  the  Dahlia,  one  within  the  other, 
forming  a  series  of  six  sizes ;  6,  shape  of  the  Prim- 
rose petal ;  7,  of  the  quilled  China  Aster,  or  made  a 
little  larger  of  the  Chrysanthemum. 

A  circumstance  here  forces  itself  upon  the  attention, 
that,  although  the  petal  curves  down  to  a  point  where 
it  is  united  to  the  rest  of  the  flowers,  yet,  when  cut- 
ting out  the  shape,  and  afterwards  the  wax,  this  part 
is  to  be  made  wider  than  is  natural,  in  order  that 
it  may  adhere  the  stronger  to  the  rest,  and  not  be  so 
liable  to  bend  or  snap  afterwards ;  for  all  waxen  flow- 
.ers  are  apt  to  get  a  little  brittle  by  time,  particularly 
those  that,  are  made  with  wax,  into  which  Canada 
balsam  has  been  melted,  as  it  is  by  some  of  the 
makers,  greatly  to  its  injury. 

Stamens  and  Pointal.  —  The  thread-like  parts  within 
flowers  are  made  with  white,  yellow,  or  green  cotton, 
made  stiff"  first  with  starch,  and  then  dipped  in  melted 
wax;  this  maybe  cut  into  lengths  as  required;  bristles 
dyed  of  these  colors  are  also  useful ;  wax  itself,  cut 
into  slips,  will  often  be  better  than  any  thing  else. 
The  seeds,  as  they  are  called,  sold  at  the  artificial 
flower  makers,  are  vile  substitutes. 


WAX    FLOWERS.  67 

To  make  Waxen  Leaves.  —  This  is  a  method  very 
different  from  making  the  petals  of  the  flowers,  al- 
though very  often  the  petals,  if  made  thus,  would  be 
very  greatly  improved.  The  waxen  leaves  are  made 
partly  by  moulding,  and  partly  by  cutting ;  but  as 
they  are  made  of  sheets  of  wax  previously  prepared, 
the  method  of  making  them  properly  belongs  to  this 
department  of  the ,  subject.  First,  take  the  natural 
leaf,  and  make  a  pattern  of  it  in  tin  or  card,  with  all 
its  irregularities  of  outline,  place  it  upon  wet  sand, 
and  pour  plaster  of  Paris  over  it  to  the  thickness  of 
half  an  inch.  When  set,  trim  it  round ;  turn  it  over, 
and  cast  in  like  manner  the  other  side,  but  without 
disturbing  the  leaf  itself.  Separate  the  parts  when  the 
last  plaster  is  set,  take  out  the  leaf,  and  you  will  have 
two  moulds  of  it,  which  are  ready  for  use  immedi- 
ately, and  will,  if  carefully  used,  last  for  a  long  time. 
To  make  the  leaves  themselves  of  wax,  take  a  sheet 
of  the  latter,  cut  it  by  the  tin  pattern  into  proper 
size,  soak  the  mould  in  water  just  warm,  and  while 
thus  wet  and  warm,  squeeze  the  waxen  shape  between 
the  two  half  moulds  ;  they  will  impress  upon  it  all  the 
various  veins  and  irregularities  of  the  real  leaf.  The 
most  usual  leaves  made  are  those  of  the  Hyacinth,  the 
Camellia,  Rose,  Orange,  Geranium,  Convolvulus,  Pas- 


68  WAX    FLOWERS. 

sion  Flower,  Hop,  Laburnum,  Primrose,  Violet,  and 
Water  Lily.  Some  flowers  never  have  leaves  attached 
to  them,  as  the  Dahlia,  Anemone,  Ranunculus,  Poppy, 
&c.  The  leaves,  in  these  examples,  are  much  divided, 
and  would  be  very  difficult  to  imitate ;  nor  are  they 
necessary,  as  they  are  never  found  in  nosegays  con- 
taining these  flowers. 

To  make  Succulent  Stems,  Buds,  &c.  —  Many  objects, 
which  may  be  considered  as  accessories  to  flowers,  re- 
quire to  be  cast  exactly  in  the  manner  already  de- 
scribed under  waxen  fruit.  There  are  various  succulent 
Stems,  as  those  of  the  cactus,  stapelia,  aloe,  &c.  ;  the 
Buds  of  the  larger  fuchsias,  berries  of  coffee,  very  small 
oranges,  buds  of  the  dahlia,  hips  of  the  rose  tree,  &c., 
yet  casting  is  to  be  avoided  as  much  as  possible,  on 
account  of  the  trouble  of  it,  and  the  too  great  uni- 
formity of  the  produce  ;  generally  the  buds  of  flowers 
may  be  modelled  very  well  by  the  hand,  without  having 
recourse  to  the  inconveniences  of  casting ;  the  latter 
process  being  chiefly  of  use  to  those  who  make  the 
commoner  kind  of  waxen  flowers  for  sale. 


WAX    FLOWERS. 


MODELLING  SIMPLE  FLOWERS. 


T  is  always  advisable  for  the  learner  to 
commence  with  what  is  simple  and  easy, 
and  to  proceed  thence  to  the  more  diffi- 
cult flowers.  Now  there  is  a  great 
trouble  in  producing  a  fac-simile  of  personate  flowers 
like  the  Foxglove,  and  all  those  flowers  which  are  bell 
or  trumpet-shaped,  —  as  the  Blue  Bell,  the  Convolvulus, 
Tobacco,  the  Marvel  of  Peru,  and  others  ;  still  greater 
difficulty  would  be  found  with  many  of  the  Orchideous 
plants,  the  Calceolaria,  &c.,  while  others  are  so  re- 
markably easy,  that  even  a  first  attempt  generally  suc- 
ceeds in  producing  a  good  imitation  ;  such,  for  example, 
are  the  Primrose,  the  Heart's  Ease,  the  Laburnum,  the 
Pink,  &c.  We  shall  describe  many  of  these  beautiful 
objects  in  detail,  only  observing,  that  with  all  flowers 
it  is  advisable  first  to  cut  out  and  arrange  all  the 

1  oet 

pieces    required ;    then   to    color   them   properly,    after- 


70  WAX    FLOWERS. 

wards  to  Mtach  the  parts  to  each  other,  arid  finally 
to  put  on  such  extra  touches  of  colors,  down,  varnish, 
&c.,  as  they  seem  to  require. 

A  little  knowledge  of  botany  will  greatly  assist,  be- 
cause it  teaches  the  character  of  the  fhnver  in  its 
single  natural  state,  showing  the  number  of  its  leaves, 
or,  more  properly,  petals,  and  the  number  of  the 
stamens  or  inner  thread-like  bodies,  and  also  the  vari- 
ous positions  of  these  and  other  parts  relatively  to 
each  other.  All  flowers  of  the  same  species,  and  gen- 
erally of  the  same  family,  are  like  each  other  in  these 
and  other  respects ;  thus,  although  there  are  twenty  or 
more  species  of  Crocus,  and  of  these  perhaps  fifty 
varieties,  yet  they  all  agree  in  having  six  parts  to 
the  flower,  three  outside  the  other  three,  with  three 
stamens  within  side,  and  a  pointal  in  the  centre  of 
all.  By  knowing,  then,  the  character  of  one  Crocus, 
we  know  the  character  of  all,  and  require  no  form  or 
pattern  but  a  single  petal ;  our  botanical  knowledge 
supplying  all  other  information.  Lest  we  should  not 
be  understood  by  the  non-botanist,  through  being  too 
scientific  in  speaking  of  the  parts  of  a  flower,  we  have 
to  state,  that  the  outer  envelope  of  a  flower  is  called 
a  calyx,  and  its  parts  are  called  sepals  ;  this  is  gener- 
ally a  green  cup,  as  in  the  Primrose,  yet  sometimes 


WAX    FLOWERS.  71 

colored,  as  in  the  Fuchsia ;  and  when  a  flower  has 
but  one  kind  of  envelope,  as  the  Crocus  and  the  Tulip, 
it  is  a  calyx.  When  the  flower  has  two  envelopes, 
the  inner  part  is  a  corolla,  and  its  parts  are  called 
petals,  as  the  red  leaves  or  petals  of  the  Rose.  Some- 
times the  calyx  falls  off  when  the  flower  opens,  as  the 
Poppy.  Within  the  corolla  are  the  stamens  or  threads, 
and  in  the  centre  of  all  the  pointal,  and  sometimes  the 
young  seed-vessel. 


WAX    FLOWERS. 


SINGLE  AND  SIMPLE  FLOWERS. 


THE    SNOWDROP,    CROCUS,    PRIMROSE,    AND    VIOLET. 


[MROSE.       The    cliaracter    of   all   the 
tribe  is  to  have  the  calyx  in  one   piece, 
with  five  feet  on  the  top.      The   corolla 
of  one   piece,   five-cleft   at  the   top,  five 
stamens,  and  one  pointal. 


WAX    FLOWERS.  73 

Choose  the  palest  colored  yellow  wax,  one  sheet 
will  be  enough  for  two  flowers  and  two  buds ;  also, 
bright  green  wax  for  the  calyx  and  leaves,  — •  one 
sheet  will  make  two  leaves  or  four  buds.  Cut  the 
calyx,  as  shown  at  A ;  and  five  petals,  as  at  B.  Paint 
each  petal  with  a  spot  in  the  middle,  as  shown,  with 
a  dark  orange  yellow.  Choose  a  piece  of  moderately 
thick  wire  for  a  stalk,  three  or  four  inches  long,  cover 
it  with  a  slip  of  green  wax,  and  make  a  little  knob 
at  the  point.  Then  take  a  piece  of  yellow  wax,  half 
an  inch  long,  and  a  quarter  of  an  inch  wide ;  cut  this 
with  the  scissors  into  five  Strips  for  stamens,  stick 
these  on  the  top  of  the  wire,  or  rather  on  the 
knob  which  terminates  it,  then  put  on  in  like  manner 
the  five  petals ;  afterwards,  take  the  calyx  in  a  warm 
palm  of  the  hand,  roll  over  it  the  knob  of  one  of  the 
curling  pins,  so  that  it  may  gradually  curl  up,  that 
the  edges  may  be  joined  together,  assisting  this  curling 
up  by  folding  them  with  the  fingers.  When  thus  made 
warm  and  pliant,  fold  it  carefully  over  a  small  pencil 
or  round  stick,  made  wet,  until  the  edges  slightly  lap 
over  each  other,  rub  down  these  edges  so  that  they 


In  cutting  out  the  patterns,  always  lay  them  lengthwise  of  the  sheet  of 
wax,  as  it  is  much  less  brittle  cut  thus,  than  if  the  petals  were  cut  cross- 
wise. It  is  advisable  also,  in  cold  weather,  to  warm  the  wax  a  little,  before 
it  is  cut  up. 


74 


WAX    FLOWER&. 


unite  neatly.  Thrust  the  wire  part  of  the  pin  down 
within  the  calyx  and  between  that  and  the  centre 
stick,  in  five  places,  corresponding  to  the  top  of  the 
teeth.  This,  if  carefully  done,  will  form  the  calyx 
into  five  ribs,  as  in  nature,  and  as  shown  in  section 
in  the  cut ;  or  it  may  be  improved  in  this  respect  by 
having  a  pentagonal  stick  instead  of  a  round  one,  or 
it  may  be  finished  when  removed  from  the  stick. 
When  made,  pass  the  calyx  up  from  the  bottom  end 
of  the  stalk.  Fasten  it  in  the  proper  place,  so  that  its 
points  shall  come  under  the  corolla,  and  fix  it  by 
pinching  its  lower  end  with  the  stalk.  Lastly,  make 
the  flower  of  proper  form,  by  bending  all  the  petals 
quite  flat,  not  individually,  for  each  may  have  a  little 
folding'  or  other  irregularity  given  to  it,  but  merely 
that  the  whole  flower  shall  be  flat  and  not  cup-shaped. 


The  corolla  of  the  Primrose  is  in  nature  but  of  one 
piece,  formed  at  the  lower  part  like  a  tube,  and  spread 


WAX    FLOWERS.  75 

out  in  the  upper  part  into  five  parts,  but  it  is  much 
more  difficult  to  make  it .  so  in  wax ;  nor  is  the  effect, 
when  made,  better  than  when  made  in  five  pieces. 

To  form  the  bud,  take  one  or  two  yellow  petals 
only,  curl  them  round,  and  nearly  bury  them  in  the 
calyx.  The  leaf,  to  be  natural,  must  be  cast  in  a 
proper  mould ;  and  should,  when  made,  be  dusted  un- 
derneath with  the  white  down. 

The  Common  Primrose  —  "  that  pale  visitant  of 
balmy  Spring,"  as  Bidlake  calls  it  —  is  not  always  so 
pale  ;  for  when  cultivated,  it  not  only  becomes  double, 
but  sports  into  white  and  various  colors.  The  double 
variety  may  be  made  white,  sulphur  colored,  pale  pink, 
and  dark  red ;  the  form  of  a  double  Primrose  is  shown 
in  the  cut  on  page  72.  When  thus  double,  the  pecu- 
liar dark  spot  painted  on  the  single  variety  is  not  found, 
but  the  whole  flower  is  of  a  uniform  tint.  The  whole 
flower  thus  double,  is  in  general  form  like  a  Carnation, 
but  of  the  size  of  the  Primrose;  its  petals  are  of  the 
form  of  the  single  one,  except  those  near  the  centre. 
It  may  be  made  of  wax  which  is  of  pure  white,  pale 
yellow,  deep  yellow,  pink,  or  dark  red ;  this  last  should 
be  made  by  white  wax  painted  with  dry  carmine  by  I 
the  tinting  brush,  before  it  is  cut  out,  and  the  cut ' 
edges  touched  with  the  same  after  cutting. 


76  WAX    FLOWERS. 

Other  flowers  of  the  primrose  tribe  are  the  Cowslip, 
the  Polyanthus,  the  Auricula,  the  Chinese  Primrose ; 
all  these  have  many  flowers  upon  the  same  stem,  and 
all  coming  out  of  the  top  of  it.  The  cowslip  has  cup- 
shaped  flowers,  the  others  have  their  flowers  flat  like 
the  primrose ;  the  cowslip  is  smaller  than  the  primrose, 
and  darker,  Avith  a  still  darker  spot  upon  each  divis- 
ion of  the  corolla.  The  manner  of  making  the  prim- 
rose will  suggest  the  modelling  of  the  others.  The 
polyanthus  is  to  be  made  of  bright  yellow  wax ;  the 
auricula  generally  of  white  wax  ;  the  mealiness  of  this 
last  may  be  put  on  best  thus :  Damp_  the  parts  which 
are  to  be  mealy  with  turpentine,  and  dust  arrow-root 
or  hair-powder  over  them ;  the  leaves  are  of  a  dark 
bluish  green  ;  they  must  also  be  dusted  with  white. 

The  Crocus  Tribe.  —  All  Crocuses  have  six  petals, 
or  rather  sepals,  colored  alike,  and  formed  into  a  long 
tube  'below  ;  three  of  the  sepals  are  rather  within  the 
other  three.  There  are  three  stamens  and  one  pointal. 
Choose  first  the  common  yellow  crocus,  which  is  seen 
expanded  on  page  72.  Cut  the  sepals  and  stamens 
of  the  size  and  form  shown  at  A  and  B  ;  the  former 
of  gold-colored  wax,  either  cast  of  proper  color,  or 
yellow  wax  to  which  a  more  golden  hue  is  given  by 


WAX    FLOWERS.  77 

deep  chrome,  or  rather  of  deep  orange.  When  the 
stamens  are  formed,  damp  them  with  turpentine,  and 
dip  them,  while  damp,  into  powdered  dark  chrome. 
F»»in  the  pointal,  as  represented  at  C,  of  yellow  wax 
on  the  end  of  a  wire,  damp  it  with  turpentine,  and 
dip  it  into  powdered  carmine,  with  a  little  orange 
mixed,  or  not  to  spoil  the  carmine  by  mixing  another 
color  with  it,  this  last  may  be  dusted  over  afterwards. 
Join  the  three  stamens  to  three  of  the  sepals,  first 
having  rolled  them  in  the  hand  with  the  ball  end  of 
the  pin,  so  that  each  sepal  may  be  somewhat  boat- 
shaped.  The  lower  end  of  the  stamens  should  blend 
with  the  sepal  to  which  it  is  attached,  so  that  their 
union  is  not  observed.  The  point  of  union  should  also 
be  below  the  expanded  part  of  the  flower.  Put  a  little 
bit  of  spare  wax  around  the  base  of  the  pointal,  and 
fasten  the  sepals  to  it  by  pressure,  first  putting  on 
the  three  which  bear  the  stamens  at  equal  distances, 
and  then  the  other  three.  Unite  them,  if  possible,  so 
as  to  form  a  tube  at  the  base,  and  spread  them  out 
somewhat  at  the  top,  according  as  an  open  or  closed 
flower  is  desired;  sheaths  or  large  folding  leaves  of 
light  brown  wax  may  be  placed  over  the  stem,  first 
one  on  one  side,  then  one  on  the  contrary.  Between 
the  lowest  sheath  and  the  stem  may  be  placed  the 
7* 


re 


WAX    FLOWERS. 


leaves.  When  a  crocus  is  in  flower,  the  leaves  gen- 
erally have  not  grown  so  tall  as  the  flower,  they  must 
be  always  cut  out  of  dark  green  wax,  and  have  a 
white  stripe  painted  up  the  centre  of  each. 


The  cut  on  page  72,  also  shows  a  bud  of  the  Scotch 
Crocus ;  this  species  is  yellow,  with  brown  pencilling  on 
the  outside  of  the  sepals ;  it  has  always  two  flowers 
to  a  root. 

Crocus  Sativus,  or  the  Saffron  Crocus,  shown  in  the 
cut,  blossoms  in  the  autumn ;  it  is  a  fine  purple,  with 
yellow  stigma  and  -stamens.  The  pretty  little  Cloth- 
of-gold  Crocus  is  a  bright  yellow,  marked  outside  with 
brown,  and  its  sepals  are  turned  downwards,  when  the 
flower  is  full  out. 

The  Colchicum  is  to  be  modelled  in  the  same  way 
as  the  crocus.  It  is  of  a  purplish  pink  color,  and  has 
six  stamens ;  also,  the  Sternbergia,  a  bright-yellow  au- 
tumn flower,  of  the  size  and  form  of  the  crocus,  but 


WAX    FLOWERS.  79 

with  six  stamens.     Numerous  other  flowers  will  suggest 
themselves  as  of  the  same  character. 

The  Snowdrop,  —  Take  a  wire  of  small  size,  about 
six  inches  long.  Next  a  piece  of  white  wax,  a  quarter 
of  an  inch  square,  and  cut  this  into  six  thread-like 
strips,  after  the  manner  of  a  fringe.  Twist  this  around 
the  end  of  the  wire,  so  that  the  six  points  hang  down 
a  little  way.  You  need  not  be  particular  about  this, 
because,  as  the  flower  always  hangs  down,  the  centre 
part  is  not  much  seen.  Then  cut  three  of  each  of  the 
two  patterns  given  of  pure  white  wax;  make  each  of 
them  hollow,  rubbing  them  by  the  ball  while  warmed 
by  the  hand.  Then  put  on  at  equal  distance  the  three 
inner  petals,  so  that  they  adhere  well  to  the  stalk,  and 
completely  cover  the  stamens,  and  also  that  they  over- 
lap each  other  a  little.  Next,  put  on  the  three  outer 
petals.  Paint  the  inner  ones  with  a  spot  of  bright 
green,  made  of  a  mixture  of  Prussian  blue  and  chrome 
yellow,  and  laid  on  with  a  camel's  hair  or  sable  brush 
of  small  size.  At  the  foot  of  the  flower  put  a  little 
piece  of  green  wax  to  form  a  small  ball ;  bend  the 
stalk,  and  add  to  it,  distant  from  the  flower,  a  sheath 
made  of  very  thin  green  wax ;  when  there  are  to  be 
leaves  shown,  there  should  be  always  two  on  the 


80  WAX    FLOWERS. 

stalk ;  but  when  a  pot  full  of  Snowdrops  is  to  be  rep- 
resented, there  may  be  many  leaves  arising  from  the 
ground  without  a  flower  at  all ;  observe  in  this  case, 
also,  there  should  be  always  two  together.  Snow- 
drops should  always  be  shown  two  or  three  together. 


The  Violet.  —  This  simple  flower,  which  is  of  five 
petals,  may  be  made  of  blue  sheet  wax,  of  the 
proper  color  at  first,  or  white  wax,  colored  either 
•with  oil  or  dry  colors,  after  being  cut  into  petals ; 
the  latter  is  to  be  preferred,  because  it  gives  a 
finer  tint.  Sometimes  White  Violets  are  made ; 
their  form  is  the  same  as  the  dark  purple  ones.  It 
is  the  botanical  characteristic  of  the  Sweet-scented 
Violet,  that  its  flowers  grow  on  stalks  which  come 
at  once  from  the  root  of  the  plant,  as  also  the 
leaves ;  thus  the  plant  is  never  branched,  and,  properly 
speaking,  there  is  no  real  stem  to  it ;  although  each 
leaf  and  flower  has  its  distinct  stalk.  Owing  to  this, 
it  is  very  easy  to  make,  and  looks  well  when  in  an 
imitation  garden-pot,  or  in  a  bunch  of  two  or  three 
together.  There  is  a  calyx  of  one  piece,  which  how- 
ever is  five  pointed,  the  points  not  very  sharp. 


WAX    FLOWERS. 


A,  calyx,  to  be  cut  rather  larger  than  the   pattern. 
B,  shape  of  lower  petal.     C,  side  petal.     D,  top  petal. 


First,  form  the  centre  of  the  flower  of  a  small  piece 
of  dark  yellow  wax ;  this  is  to  be  scarcely  larger  than 
the  wire  which  forms  the  stalk ;  indeed,  it  is  but  the 
piece  of  wax  folded  over  the  stalk,  and  pointed  up  at 
the  end.  It  may  be  snipped  with  scissors  after  being 
put  on,  to  resemble  five  stamens  closely  packed  together. 
Now  put  on  the  five  petals,  —  one  below,  one  at  each 
side,  and  two  at  the  top.  All  the  petals  are  consid- 
erably hollowed  in  the  hand  first,  particularly  the 
three  lower  ones.  When  these  are  fixed,  wrap  the 
calyx  around  the  purple  petals,  so  that  each  point  of 
it  comes  to  the  interval  between  the  petals ;  or,  in 
other  words,  so  that  the  points  are  seen  from  the  face 
of  the  flower ;  the  upper  part  of  the  stalk  end  of  the 
flower  should  be  rather  fuller  than  the  lower,  as  if 
the  stalk  came  out  in  some  degree  from  the  bottom, 
as  well  as  the  end  of  the  flower.  The  calyx  and 
leaves  are  of  a  bright  green. 


82  WAX    FLOWERS. 

The  Heartsease.  —  The  whole  of  the  Heartsease  are 
of  the  tribe  of  the  violet,  and  therefore  consist  of  the 
same  parts,  and  are  equally  as  easy  to  imitate,  except, 
that  many  of  them  require  much  after-coloring.  The 
Heartsease  has  very  rarely  any  scent,  and  it  is 
branched ;  that  is,  although  each  flower  has  its  own 
foot  stalk,  yet  there  are  many  flowers  and  leaves  to 
the  same  stem ;  the  leaves,  too,  are  very  different 
from  those  of  the  violet.  The  flowers  are  of  every 
variety  of  purple,  blue,  yellow,  white,  and  occasion- 
ally brown  color ;  but  never  red.  They  are  also  of 
every  size,  from  the  wild  one  of  the  fields,  which  is 
scarcely  half  an  inch  across,  to  the  splendid  produc- 
tions of  the  garden,  eight  inches  or  more  in  circum- 
ference. 


WAX    FLOWERS.  83 


THE'  TULIP,    HYACINTH,    AND  NARCISSUS. 

The  Tulip  is  not  an  easy  flower  to  make,  although 
so  apparently  simple.  This  simplicity,  indeed,  consti- 
tutes half  the  difficulty,  as  the  flower,  when  formed, 
is  so  large  as  to  show  all  defects,  and  is  not  relieved 
by  leaves,  tendrils,  or  any  other  adjunct  which  can 
hide  a  misshapen  petal,  &c.  In  fact,  a  Tulip,  to  be 
a  beautiful  object  in  wax,  must  be  made  with  perfect 
exactness.  Tulips  vary  very  much  in  their  color, 
shape,  and  mode  of  streaking ;  some  have  yellow 
bodies,  and  others  white ;  some  black  anthers,  others 
yellow ;  and  so  accordant  with  each  other  must  be 
the  anthers,  streaks,  color,  size,  and  form,  that  only 
a  real  Tulip  must  be  taken  as  a  pattern.  Upon  the 


84  WAX    FLOWERS. 

examination  of  this,  it  will  be  found  that  the  young 
seed-vessel  is  found  of  a  club-shape  in  the  centre ; 
next,  are  six  stamens  at  equal  distances ;  next,  six 
petals ;  the  whole  supported  on  a  strong  stem.  The 
petals  should  be  made  of  white  wax  for  white  flowers, 
and  a  middle  shade  of  yellow  for  the  other  varieties. 
The  color  for  the  streaks  is  a  mixture  of  carmine 
with  a  little  blue  or  black,  using  Prussian  blue  to 
produce  a  purple ;  and  Indian  ink,  with  the  carmine 
or  lake,  to  form  a  deep  crimson.  Great  care  must 
be  taken  in  laying  on  the  streaks,  as  these  must  be 
on  both  sides  of  the  petal,  and  before  this  is  attached 
to  the  stalk ;  also,  each  petal  is  to  be  rolled  with  the 
knob  of  the  largest  curling  pin,  until  it  is  somewhat  of 
a  boat  shape,  or  much  hollowed  in  the  part  that  is  to 
come  next. the  stalk.  Three  of  the  petals  are  to  be 
put  on  first,  and  the  other  three  afterwards  in  such  a 
manner,  that  their  edges  will  somewhat  overlap  the 
edges  of  the  others ;  the  whole  flower,  if  fully  blown, 
will  form  a  cup-shape ;  but  it  is  far  more  elegant  to 
contract  the  top  much  more  than  this,  so  as  to  show 
fully  the  outside  of  the  petals. 

The  Van  Trol,  or  Sweet-scented  Early  Spring  Tulip, 
is  very  easy  to  make.  Its  petals  are  about  an  inch 
and  a  half  long,  and  three  quarters  or  less  in  width, 


WAX    FLOWERS  85 

round  below  and  pointed  above.  They  are  to  be  made 
of  deep  yellow  wax,  and  colored  all  over  with  car- 
mine, except  around  the  edges,  which  are  to  be  left 
yellow.  When  put  together,  the  petals  are  seldom 
regular,  but  somewhat  distorted,  so  as  to  appear 
twisted  towards  the  top  an  effect  easily  imitated ; 
the  flower  should  also  be  represented  as  nearly 
closed. 

In  wax,  these  small  Tulips  are  usually  represented 
as  growing  in  a  garden-pot ;  there  are  to  be  two  leaves 
for  each ;  if  thus  made,  never  put  more  than  three  in 
a  pot. 

The  Hyacinth.  —  This  beautiful  production  of  the 
garden  is  of  every  possible  color,  except  bright  green, 
scarlet,  brown,  and  black ;  its  varieties,  .both  single 
and  double,  running  through  every  shade  of  blue,  pink, 
yellow,  white,  &c.  It  is  rarely  or  never  streaked,  but 
very  often  the  centre  of  a  double  flower  is  of  a  much 
darker  color  than  the  outer  petals.  The  form  of  the 
Hyacinth  is  different  from  any  former  flower  we  have 
described,  inasmuch  as  it  consists  of  numberless  florets, 
united  together  to  form  a  close  bunch.  This  adds 
somewhat  to  the  labor,  but  not  the  difficulty  of  manip- 
ulation. First,  cut  from  twelve  to  twenty  pieces  of 
8 


86  WAX    FLOWERS. 

thin  wire,  eight  inches  long;  then  cut  out  the  petals 
according  to  form  A.  If  you  are  imitating  a  single 
flower,  take  a  piece  of  white  wax,  a  quarter  of  an 
inch  broad,  and  hah0  an  inch  long,  cut  this  in  narrow 
strips,  roll  a  piece  similar  to  this  round  the  top  of 
each  wire,  one  end  of  each  strip  being  attached  to  the 
wire,  the  other  end  beyond  it,  these  are  for  stamens  ; 
if  you  wish  a  double  flower,  let  there  be  either  six 
or  twelve  of  these,  or  rather  of  narrow  petals  as  a 
substitute  for  the  stamens ;  those  for  the  inner  row 
are  to  be  of  form  B  ;  and  for  the  second  row  of  form 
C ;  being  a  gradation  in  size  from  the  outer  or  true 
petals,  which  are  also  six  in  number.  The  various 
petals,  when  cut  out,  will  require  after-coloring  or  not, 
according  to  the  variety  copied.  The  stamens  being 
attached,  next  fix  the  six  petals  at  equal  distances 
around,  smooth  very  carefully  the  joints  of  them  near 
to  the  stalk,  so  that  they  shall  appear  united  for 
nearly  half  their  length.  Let  the  petals  remain  quite 
close  together  at  the  top  for  the  buds,  a  little  more 
open  for  the  next  lowest  flowers,  and  the  petals  of 
the  full-blown  ones,  quite  curved  back  in  a  round 
and  regular  form,  for  this  character  is  very  essential 
to  the  Hyacinth.  If  a  double  flower  is  to  be  imitated, 
first,  instead  of  the  stamens,  fix  the  six  inner  petals ; 


WAX    FLOWERS.  87 

then,  in  the  intervals  of  these,  the  next  row ;  and  in 
the  intervals  between  these  last,  or  exactly  opposite 
the  inner  row,  the  largest  petals ;  the  base  of  all  the 
under  ones  is  covered  with  the  upper  row,  and  the 
whole  base  is  nicely  rounded  off.  The  petals  are 
then  put  into  form,  by  carefully  bending  back  first 
the  outer  row,  then  the  next,  and  lastly  the  inner 
ones.  One  or  even  both  rows  of  inner  petals  may  be 
dispensed  with  for  the  buds,  particularly  the  smaller 
ones.  The  joining  of  the  florets  together  is  the  same 
for  single  and  double  flowers.  The  following  brief 
instruction  may  suffice  for  many  other  flowers  besides 
the  Hyacinth :  Provide  a  needleful  of  green  silk,  and 
cover  each  stalk  for  about  an  inch  with  green  wax. 
Arrange  the  bud  and  flower  in  the  order  of  their 
degree  of  expansion ;  fasten  two  of  the  smallest  to- 
gether, half  an  inch  from  the  floret,  by  a  curl  of  the 
silk ;  a  quarter  of  an  inch  lower  down,  fasten  on  a 
third  floret  or  bud,  by  another  turn  of  the  silk,  and 
so  on  for  about  three  or  four  inches  down  the  stems, 
increasing  the  distance  of  a  quarter  of  an  inch  for 
each  as  you  proceed  downwards,  and  also  rather  in- 
creasing the  half  inch  distance  from  the  floret  to  the 
place  of  the  ligature ;  after  placing  two  or  three,  it 
will  be  necessary  to  bend  the  stem  of  the  floret  side- 


88  WAX    FLOWERS. 

ways.  It  will  be  observed,  in  a  natural  flower,  the 
buds  are  upright ;  the  fresh-blown  florets,  horizontal 
to  the  stem ;  and  the  lower  one,  rather  hanging  down. 
As  you  go  on  attaching  these  florets,  the  stem  will 
need  covering  with  a  strip  of  green  wax,  similar  to 
that  used  at  first.  Doing  this  with  care,  nicely  blend- 
ing the  edges  of  these  pieces,  and  duly  arranging  the 
florets  so  as  to  touch  each  other  all  round,  a  very 
natural  appearance  will  be  given  to  the  whole ;  and 
should  a  Hyacinth  be  even  the  very  first  flower  to 
be  imitated,  the  learner  will  generally  have  cause  to 
congratulate  herself  upon  her  successful  modelling. 
For  a  fine  Hyacinth,  you  will  not  require  more  than 
four  sheets  of  wax,  as  it  cuts  to  great  advantage. 

The  Narcissus.  —  The  name  Narciss  or  Narcissus, 
is  rather  that  of  a  family  than  a  particular  flower, 
as  the  species  are  extremely  numerous,  and  general 
among  us.  Space  only  allows  one  to  be  fully  de- 
scribed ;  but  the  instructions  given  for  that  apply  to 
them  all,  especially  if  the  following  remarks  relative 
to  the  peculiarities  of  each  are  borne  in  mind. 

Jonquil  (Narcissus  Jonquillus).  —  This  is  wholly, 
cup  and  all,  of  a  bright  yellow,  the  stems  are  thin 
and  long ;  there  are  two  sheaths.  The  flower  is  about 


WAX   FLOWERS.  89 

two  inches  across,  and  there  are  two  or  three  to  each 
stem.  The  leaves  are  short  and  narrow. 

Poet's  Narciss  (Narcissus  poeticus).  — There  is  but 
a  single  flower  to  each  stem,  and  this  is  very  often 
double,  of  a  pure  white  color ;  when  single,  the  cup 
is  white  tipped  with  scarlet.  The  seed-vessel  is  very 
small,  the  stem  rather  slender. 

Polyanthus  Narciss  (Narcissus  Tageta).  —  Eight  or 
ten  flowers  to  a  stalk,  of  a  fine  dark  yellow  color, 
both  as  to  petals  and  cup ;  the  latter,  however,  is 
much  the  darker,  and  may  be  made  of  orange  wax, 
while  the  petals  are  of  the  darkest  shade  of  yellow. 
The  flowers  need  not  be  more  than  an  inch  and  a 
half  over,  or  even  less  than  this. 

Two-flowered  Narciss  (Narcissus  biflorus.)  —  This 
two-flowered  species  is  one  of  the  prettiest,  and  as 
easy  as  any  other  to  imitate,  we  will  therefore  de- 
scribe it  more  in  detail  than  the  rest.  The  petals 
are,  as  in  every  case  of  the  others,  six  in  number ; 
the  stamens  six ;  the  nectary  or  centre  part  in  the 
form  of  a  cup.  This  is  of  a  yellow  color,  jagged 
around  the  edge.  The  petals  are  white ;  the  sheath 
of  a  light  brown  \  and  the  stem  and  leaves  bright 
green.  First,  take  two  moderately  thick  wires  for  the 
stem,  and  cover  'two  or  three  inches  of  the  tpp  of  each 
8* 


1)0  WAX  FLO  WE  US. 

with  green  wax.  Model  six  stamens  of  the  form 
given  in  the  illustrative  cut.  Dip  the  points  of  these 
in  turpentine ;  and  then,  •  while  wet,  in  dry  orange 
chrome.  Lay  them  aside  for  the  turpentine  to  evapo- 
rate, and  for  them  to  become  hard  again.  While  the 
stamens  are  drying,  cut  out  a  piece  of  deep  yellow 
wax,  of  the  form  shown  at  A,  and  make  it  jagged 
around  the  edge.  Hold  this  piece  in  the  hand,  and 
roll  the  ball  of  the  curling  pin  -over  it  backwards 
and  forwards,  till  it  curls  up,  and  till  the  edges  may 
be  brought  together.  You  may  then  unite  the  edges, 


and  still  roll  it  with  the  pin,  till  it  forms  a  perfect 
regular  cup.  The  petals  will  not  require  rolling ;  but 
if  you  have  a  natural  flower  to  copy  from,  you  will 
find  that  the  natural  ones  are  somewhat  in  ridges, 
this  effect  is  produced  by  the  pin  being  pressed  against 
them  lengthways.  Unite  the  six  stamens  to  the  wire 
stem,  so  that  they  shall  just  have  their  anthers  pro- 


WAX    FLO  WERS.  91 

jecting  beyond  it.  Next  pierce  the  centre  of  the  cup 
by  the  bottom  end  of  the  stalk,  and  pass  it  up  to 
its  proper  place ;  that  is,  so  that  the  bottom  of  it 
comes  up  close  to  the  anthers  of  the  stamens,  which 
have  just  been  put  on ;  pinch  this  tightly  on.  Place 
the  petals  at  regular  intervals  under  the  cup,  bending 
them  across  at  about  a  quarter  of  an  inch  near  the 
bottom,  and  putting  them  on  by  this  quarter  of  an 
inch,  which  will  be  quite  sufficient.  Wrap  a  piece 
of  white  wax,  for  about  an  inch,  along  the  wire  for  the 
tube  of  the  flower,  and  make  the  whole  quite  smooth 
and  even ;  lastly,  finish  the  flower  with  a  little  oblong 
ball  of  green  wax  of  the  same  color  as  the  stem,  to 
form  the  seed-vessel,  as  shown  at  C.  The  other 
flower  is  to  be  made  the  same  way,  or  a  bud  may 
be  formed  in  like  manner.  The  petals  are  to  be  bent 
so  as  to  give  the  flower  a  flat  appearance ;  or  rather, 
a  flower  opening  is  to  be  somewhat  hollow ;  in  a  full- 
blown floAver,  the  petals  are  to  be  flat,  and  in  one 
which  has  been  open  for  two  or  three  days ;  they 
are  to  be  bent  back.  The  two  flowers  are  now  to 
be  tied  together  at  about  an  inch  and  a  half  from 
the  seed-vessel  of  the  one,  and  an  inch  from  the 
seed-vessel  of  the  other.  Tie  them  not  only  here, 
but  downwards  along  the  stem  to  the  bottom  of  it 


92  WAX    FLOWERS. 

with  thin  soft  cotton  or  silk.  Cut  out  of  brown  wax 
a  sheath,  shaped  as  D,  join  it  to  the  stem  so  as  to 
conceal  the  upper  ligature,  and  cover  the  stem  below 
the  sheath  with  green  wax.  The  flowers  only  remain 
to  be  bent  into  proper  form,  so  as  to  arrange  them- 
selves gracefully.  They  are  naturally  bent  immedi- 
ately adjoining  the  seed-vessel  or  bulb,  at  the  bottom 
of  the  tube  of  the  flower. 


WAX    FLO  WERS. 


TEE      PINK,   JESSAMINE,    DAISY,      FORGET-ME-NOT, 
COREOPSIS,    AND   CYCLAMEN. 

The  Pink,  Carnation,  Clove,  &c.  —  Many  of  the 
Pinks  are  beautiful  objects  for  modelling,  and  by  no 
means  difficult,  whether  single  or  double.  We  will 
begin  with  the  single  Indian  Pink,  as  shown  in  the 
centre  of  the  above  illustration.  This  flower  is  an 
annual,  of  a  fine  scarlet  color,  with  black  markings 
upon  it  as  represented.  First,  take  a  moderately- 
thick  wire,  fix  upon  the  end  of  this  the  pointal,  which 
is  of  a  forked  character  in  all  Pinks,  Cloves,  &c.,  as 
shown  more  fully  at  C,  in  the  succeeding  cut.  Next 
color  a  sheet  of  white  wax  of  a  deep  crimson  with 


94  WAX    FLO  WERS. 

carmine  on  both  sides  of  it,  but  rather  paler  on  the 
underside.  Then  cut  out  five  petals,  with  long  points, 
nearly  of  the  shape  shown  at  B,  but  rather  fuller  in 
the  body,  and  with  a  different  edge,  as  seen  above. 
'Put  the  proper  markings  on  each  petal  with  black, 
not  too  regularly,  for  fear  of  stiffness  in  appearance. 
Place  the  five  petals  around  the  top  of  the  stalk,  and 
bend  each  back,  when  put  on  ;  and  it  is  advisable  in 
this,  and  many  other  cases,  where  the  petals  or  other 
parts  are  to  have  a  sudden  bend  given  to  them,  to 
warm  them  for  a  moment  in  the  sun  or  before  a  fire, 
to  prevent  the  wax  from  snapping  across ;  it  is  par- 
ticularly necessary  in  petals,  which,  like  those  of  the 
Pink,  have  a  long,  narrow  end  to  them ;  this  part 
being  necessarily  weak,  and  liable  to  accident.  Form 
a  calyx  of  bright  green  wax,  of  the  shape  of  A,  be- 
neath, but  smaller ;  roll  it  into  a  tube,  with  a  closed 
end,  as  before  described  for  the  Primrose  ;  bring  it  up 
to  the  flower  from  the  bottom  of  the  stalk,  unite  it 
well,  and  the  flower  is  finished ;  except  that  there  are 
two  or  three  small  leaves  or  bracts,  as  they  are  called, 
at  the  base  of  the  calyx. 

The  Single  Pink  is  made  in  precisely  the  same 
manner  as  the  Indian  Pink  last  described,  but  rather 
larger.  The  petals  are  of  white  wax,  colored  towards 


WAX    FLOWERS.  95 

the  end  of  the  body  of  them  with  a  fine  purple,  made,*/ 
of  lake  and  Prussian  blue,  laid  on  with  a  camel's  hair 
or  sable  pencil.  The  wax  which  forms  the  calyx  must 
be  of  a  dark  green,  powdered  over,  when  the  flower 
is  finished,  with'  arrow-root  or  other  white  downy 
powder,  to  give  the  slight  degree  of  mealiness  ob- 
served on  this  flower,  as  well  as  upon  the  Clove,  Car- 
nation, &c. 

The  Double  Pink  contains  from  thirty  to  forty 
petals,  all  of  the  same  shape,  except  that  the  inner 
ones  are  somewhat  narrower  than  those  near  the  edge. 
The  petals  being  ready,  attach  them  around  the  top 
of  the  stem,  folding  each  more  or  less  back,  till  the 
whole  together  shall  form  a  shape  similar  to  about 
one  third  of  an  orange  cut  off.  There  are  great 
varieties  of  pinks,  the  markings,  edgings,  and  form  of 
which  vary  considerably. 

Clove  and  Carnation.  —  We  somewhat  forestall  the 
subject  of  double  flowers,  by  introducing  here  the 
Double  Clove,  the  Carnation,  and  Picatee.  The  for- 
mation of  them  is  the  same  as  for  a  double  pink. 
The  cut  on  page  96  shows  the  shape  of  the  various 
parts  at  A,  E,  and  D ;  while  F  shows  the  general 
shape  of  the  flower  when  complete.  E  is  a  full 


96  WAX    FLOWERS. 

sized  petal  of  a  Carnation,  with  the  markings  or 
stripes  required ;  but  these  flowers,  as  well  as  the 
Picatees,  are  so  extremely  varied  in  these  respects, 
that,  as  in  the  case  of  the  Tulip,  Ranuculus,  and 
others,  a  real  flower,  or  a  good  colored  copy  of  one, 
must  be  had  as  a  pattern.  They  may  all  be  made 


of  white  wax,  colored  as  circumstances  require  ;  some 
Picatees  may  be  made  of  light  yellow,  and  cloves  of 
pink  wax,  colored  with  dry  lake,  or  carmine  mixed 
with  a  little  black,  to  give  the  peculiar  dark  crimson 
of  the  Clove.  The  markings  of  the  Carnation  are 
generally  of  carmine  for  some  of  the  stripes,  and  of 
a  purple  for  others. 


The  Jasmine.  —  Choose  the  finest  wire  for  the  stalk, 
the  darkest  green  for  the  leaves,  and  the  purest  white 
wax  for  the  flower.  The  cut  on  page  93  will  show 
the  general  arrangement  and  shape  of  the  various 


WAX    FLOWERS.  97 

parts ;  the  flowers  are  there  represented  as  of  full  size, 
but  the  leaf  is  in  nature  about  double  of  that  depicted. 
No  particular  remark  is  to  be  made  relative  to  the 
formation  of  the  flower  itself;  all  is  extremely  easy, 
the  only  care  is  to  join  the  two  edges  of  the  tube 
of  the  white  flower  carefully,  for  it  may  be  made  all 
in  one  piece.  To  bend  this  part,  and  all  other  tubular 
flowers,  fold  the  wax,  while  warm,  over  the  stem  of 
the  curling  pin,  or  of  a  wire  of  proper  size.  In  this 
flower  there  are  no  stamens  required  to  be  seen. 

The  Daisy,  —  For  the  centre  of  a  Daisy,  cut  a  strip 
of  deep  yellow  wax,  an  inch  or  more  in  length,  and 
a  quarter  of  an  inch  broad,  into  thread-like  strips ; 
not  quite,  however,  cutting  through  the  whole  width, 
thus  not  quite  separating  each  from  the  others ;  twist 
the  piece  thus  cut  round  the  end  of  a  wire,  and  trim 
the  tops  of  them,  so  as  altogether  to  be  of  a  round  form. 
This  ought  now  to  resemble  the  top  of  a  round  paint- 
ing brush,  about  a  quarter  of  an  inch  over ;  trim 
them  up  at  the  back  also,  so  as  not  to  cut  them  sep- 
arate from  each  other,  lest  they  fall  apart,  but  merely 
to  make  them  smooth  and  even ;  ne^ct  take  a  round 
piece  of  Avhite  wax,  and  cut  it  into  from  twenty  to  thirty 
divisions,  as  shown  in  the  representation  of  the  Daisy 


98  WAX    FLOWERS. 

flower  on  page  93,  pass  this  up  from  the  bottom  of 
the  stalk,  and  press  it  until  it  adheres  well  around 
the  centre  boss.  Next  cut  a  circular  piece  of  green 
wax  half  the  size  of  the  white  piece,  and  join  it  be- 
neath. The  flower  will  thus  be  formed. 

TJie  Forget-me-not.  —  This  is  a  very  different  flower 
from  any  we  have  yet  attempted.  It  had  better  be 
cut  from  white  wax  by  a  tin  shape,  of  which  one 
is  given  of  proper  form  on  page  65.  Color  them  of 
a  bright  blue,  except  near  the  very  centre  of  the 
flower,  where  it  should  be  of  a  pure  white,  while  the 
five  thread-like  stamens  are  of  a  bright  yellow.  The 
flower  buds  are  pink.  The  flowers  may  be  scattered, 
or  in  a  close  spike,  as  they  are  found  of  both  char- 
acters. The  stem  must  be  of  fine  wire,  the  flowers 
and  buds  formed  separately,  and  put  on  so  that  the 
most  pinkish  ones  are  at  the  top  of  the  bunch ;  these 
are  very  small,  and  are  curled  round,  like  a  scorpion's 
tail.  The  blue  used  to  color  the  wax  for  the  florets 
should  be  cobalt  or  ultramarine,  the  former  is  the  best. 
Two  or  three  bunches  of  flowers  may  be  upon  the 
same  stem. 

The  Coreopsis. — The  light  delicate  character  of  this 


WAX    FLOWERS.  .  99 

flower,  and  its  rich  color,  give  great  effect  to  a  group. 
It  is  to  be  made  precisely  in  the  same  manner  as 
the  Daisy ;  the  centre  is  black,  slightly  sprinkled  with 
yellow,  the  petals  are  a  deep  rich  orange,  and  the 
marks  upon  them  are  a  rich  brown,  formed  by  burnt 
umber  painted  upon  them.  The  calyx  is  light  green, 
and  formed  of  a  number  of  small  leaves  placed  lapping 
over  each  other.  There  are  nine  or  ten  petals,  and 
they  are  jagged  at  the  edge,  as  shown  in  the  flower 
at  the  right  of  the  cut  on  page  93. 

The  Cyclamen.  —  This  is  the  next  flower  in  order, 
and  is  represented  on  page  93.  It  differs  from  all 
the  others  in  having  the  petals,  which  are  five  in 
number,  bent  back.  The  flowers  are  altogether  curi- 
ous. They  are  of  a  whitish  pink  color  in  the  English 
species,  and  to  be  formed  of  white  wax,  slightly  tinted 
with  carmine  or  lake.  The  stamens  are  not  visible, 
therefore  they  need  not  be  made.  The  stalk  is  about 
three  inches  long,  and  it  is  to  have  a  small  lump  of 
wax  at  the  end  of  it,  to  form  the  flower  upon ;  the 
petals  are  to  be  held  to  the  fire  for  a  moment  to  be 
made  very  pliable,  then  placed  on  the  little  lump  and 
pressed  down  tight ;  each  one  as  it  is  put  on  being 
turned  up,  as  shown  in  the  cut.  The  calyx  and  stalk 


100  WAX    FLOWERS. 

are  to  be  of  very  dark  green  wax.  The  calyx  is 
of  one  piece  cut  at  the  rim  into  five  blunt  points. 
The  seed-vessel  is  of  a  light  brown ;  it  may  be  made 
of  any  refuse  pieces,  and  is  about  the  size  of  a  small 
pea,  but  oval ;  its  calyx  half  covers  it.  The  leaves 
are  of  a  very  dark  green,  with  white  lines  a.nd  margin. 
Each  flower  and  leaf  grows  on  a  separate  stalk, 
which  rises  immediately  from  the  root.  The  stem  of 
the  seed-vessel  is  curiously  twisted  round  and  round, 
like  a  corkscrew,  and  more  so  as  the.  seed  ripens, 
until  at  length  the  seed-vessel  lies  on  the  ground,  and 
thus  it  may  be  said  to  sow  its  own  seed. 

Another  species  of  variety  of  Cyclamen  is  common 
in  the  gardens  or  green-houses,  the  petals  of  which 
are  beautifully  tinted  with  a  fine  dark  pink,  near  the 
lower  end  of  them,  or  for  about  a  quarter  of  an  inch 
of  the  part  turned  over.  The  leaves  are  the  same. 
There  is  also  the  Cyclamen  Coum,  Avith  small  short 
scarlet  flowers  and  round  or  kidney-shaped  leaves. 


OTHER    SIMPLE    FLOWERS. 

The  manner  of  making  the  above  flowers  will  show 
the  general  management  to  be  observed  with  all  flow- 
ers of  a  simple  character ;  to  imitate  them  with  facility 


WAX    FLOWERS.  101 

requires  only  a  little  practice ;  and  presuming  that  the 
tyro  has  already  attained  some  little  degree  of  facility 
of  operation,  it  will  not  be  necessary  to  enter  into 
others  with  so  minute  particulars :  the  following  re- 
marks may,  however,  be  useful,  and,  with  a  real  flower 
to  work  with,  no  difficulty  can  arise.  The  flowers  which 
arc  next  enumerated,  are  such  as  can  be  made  in  wax 
Avith  much  perfection,  and  are  such  as  are  usually 
chosen  for  that  purpose. 

The  Laburnum.  —  This  is  one  of  the  prettiest  and 
easiest  flowers  to  make  in  wax.  Twelve  or  fourteen 
flowers  or  buds  may  form  the  bunch.  They  are  to 
be  of  the  brightest  yellow  wax,  and  made  on  slender 
wire.  The  flower  consists  of  a  crooked  lump  for  the 
bottom,  then  two  side  pieces,  and  a  standard  at  top ; 
this  last  has  several  veins  of  dark  purple  upon  its 
inner  side.  The  whole,  when  finished,  will  be  droop- 
ing, and  therefore  in  much  estimation  to  group  with 
more  stiff  and  massive  flowers. 

The  Convolvulus.  —  A  very  difficult  flower.  The 
varieties  white,  with  five  pink  stripes ;  or  purple  with 
pink  stripes  are  the  prettiest.  After  having  cut  the 
shapes  all  of  one  color,  —  that  is,  either  white  left  un- 

9* 


102  WAX    FLOWERS. 

colored,  or  tinted  on  the  inner  side  with  fine  rich  blue, 
with  a  trace  of  red  in  it,  —  lay  upon  the  piece  thus 
cut,  to  form  the  flower,  five  long  triangular  strips  of 
pink  wax ;  rub  them  gently,  till  they  adhere  nicely ; 
then,  having  it  warm,  fold  it  over  the  wooden  form- 
ing shape  (Convolvulus  moulding  stick)  ;  being  careful 
to  soak  the  shape  for  a  minute  or  two  in  warm,  but 
not  hot  water ;  first  rub  it  gently  on  the  outside,  until 
the  edges  come  together,  when  they  must  be  joined 
very  carefully  and  neatly.  Form  the  rim  in  proper 
shape,  according  to  the  flower  copied,  and  take  it  off 
the  mould.  Now  prepare  the  stem,  which  may  be  a 
rather  thick  wire  ;  finer  wires,  ready  waxed,  being  used 
for  the  flowers  and  leaves.  There  is  always  a  flower 
on  one  side  the  stalk,  and  a  leaf  opposite  to  it  on 
the  other,  a  circumstance  very  likely  to  be  overlooked. 
The  buds  come  out  very  rapidly,  and  the  flowers 
decay  as  soon ;  thus,  in  a  group  there  should  never 
be  more  than  one  or  two  flowers  expanded.  The  bud 
is  twisted  before  opening.  The  leaf  is  heart-shaped. 

The  Fuchsia.  —  Every  year  brings  us  new  species 
of  Fuchsia,  some  small  and  with  solitary  flowers,  others 
tubular  and  with  flowers  in  bunches ;  the  former  are 
by  much  the  easier  to  imitate.  The  leaves  are  in 


WAX    FLOWERS.  103 

pairs,  of  a  middle  shade  of  green,  veined  with  purple 
or  scarlet.  From  the  junction  of  each  leaf  with  the 
stem  arises  a  flower,  which  must  be  joined  at  once 
to  the  stem ;  the  flower  stems  of  fine  copper  wire, 
that  they  may  be  weak  and  pendulous.  All  the  wire 
used  must  be  waxed,  by  rubbing  it  over  with  a  piece 
of  wax,  in  the  same  manner  as  a  thread  is  waxed 
by  the  tailor.  Have  the  leaves  of  different  sizes,  and 
the  smaller  of  a  lighter  color  than  the  others.  Join 
two  opposite  each  other  on  the  end  of  the  stem,  then 
two  others  near  to  them  on  the  opposite  sides  of  the 
stem  at  a  little  distance  down,  two  others  in  the 
same  position  as  the  top  pair.  Out  of  the  axillae  of 
these,  and  indeed  of  the  last  pair  also,  may  be  seen 
little  buds,  with  stalks  of  half  an  inch  long,  next  an- 
inch,  and  a  little  pendulous,  then  of  an  inch  and  a 
half,  progressing  to  two  or  more  inches,  when  full- 
blown flowers  will  be  seen.  In  placing  them  on,  first 
tie  on  the  flowers,  then  put  the  leaves  over  the  joints 
*where  these  were  attached.  The  flowers  are  made 
thus :  They  have  eight  stamens,  four  inner  petals  of 
a  fine  purple  color,  and,  lastly,  a  scarlet  calyx,  some- 
what tubular,  and  with  four  points  like  petals.  The 
fine  wire  itself,  colored  pink  towards  the  points,  forms 
a  pointal  in  the  centre,  which  extends  down  an  inch 


104  WAX    FLOWERS. 

from  the  flower ;  a  minute  ball  is  at  the  end  of  it, 
made  by  just  dipping  the  end  in  melted  wax.  Next 
follow  eight  scarlet  stamens,  which  extend  down  half 
an  inch,  then  comes  the  purple  corolla,  and  finally 
the  scarlet  calyx.  This,  last  entirely  hides  the  corolla 
when  the  flower  is  closed.  The  berry  is  dark  purple, 
and  of  an  oval  shape.  A  beautiful  variety,  which 
looks  well  in  wax,  called  Victoria  victrix,  has  the 
calyx  of  a  pure  white,  and  the  corolla  a  dark  purple. 
Of  the  larger  Fuchsias,  the  buds  are  generally  cast 
in  a  mould  in  the  same  manner  as  for  waxen  fruit. 
The  following  is  an  engraving  of  a  large  Fuchsia,  in 
which  every  part  is  of  the  natural  size. 


WA  X    FLO  WE  R  S . 


105 


106 


WAX    FLOWERS. 


Various  parts  of  the  Fuchsia  of  the  natural  size,  being 
drawn  from  an  actual  flower. 


WAX    FLOWERS.  107 

Bell  Flowers.  —  These  are  all  difficult  to  make  ;  they 
are  most  of  a  blue  or  purple  color,  the  corolla  of  one 
piece,  and  its  edge  cut  into  five  divisions  or  teeth. 
They  may  be  bent  into  shape  upon  a  proper  mould- 
ing stick  made  on  purpose,  according  to  the  -size  and 
the  shape  of  the  flower  to  be  imitated. 

The  Tobacco.  —  The  noblest  species,  the  Virginian 
Tobacco,  is  made  in  the  same  manner  as  the  bell 
flowers  ;  it  is  of  a  fine  pink,  and  tubular ;  the  calyx 
is  also  somewhat  tubular.  It  is  a  very  good  object  in 


Honeysuckle.  —  This  is  a  trumpet-shaped  or  tubu- 
lar flower,  made  of  yellow  wax,  somewhat  stained 
with  red.  It  has  five  prominent  stamens.  It  may  be 
made  readily  with  a  real  flower  to  copy  from.  The 
Wild  Honeysuckle  looks  perhaps  the  best  if  it  is  of 
white  wax  shaded  with  pink. 

The  Poppy.  —  This  flower  is  difficult  to  make,  and 
the  only  kind  that  should  be  attempted  is  the  Scarlet 
or  Field  Poppy.  First,  procure  a  wire  of  moderate 
thickness,  and  cover  it  with  green  worsted ;  at  the  top 
end  place  an  oval  lump  of  green  wax,  which  you  are 


108  WAX    FLOWERS. 

to  cut  transversely,  so  that  the  top  shall  be  nearly 
flat,  and  of  the  full  size  of  the  lump  of  wax ;  make 
upon  this  several  lines  or  marks  from  the  centre  out- 
wards, also  a  little  irregularity  around  the  edge,  from 
line  to  'line.  Cut  a  strip  of  dark  purple  wax  into 
stamens  of  a  thread-like  form,  without  separating  the 
one  from  the  other.  Dip  the  outer  ends  in  gum 
water,  and  then  into  a  black  or  purple  powder,  to 
represent  the  anthers.  Place  these  close  all  around 
and  underneath  the  seed-vessel,  pressing  them  down 
tight  and  firm,  so  as  to  surround  it  with  very  numer- 
ous stamens.  Then  take  the  thinnest  sheets  of  wax 
you  can  get,  cut  four  petals  of  proper  form,  and 
paint  them  with  vermilion  on  both  sides ;  crumple 
these  gently  up  in  the  hand,  and  then  opening  them 
carefully,  press  the  ends  of  them  under  the  stamens, 
putting  on  first  those  on  two  opposite  sides,  and 
afterwards  the  other  two  to  fold  over  them.  No 
leaves  are  wanted ;  it  is  better  to  have  the  flower 
drooping. 

The  Passion  Flower.  —  This  is  rather  a  difficult 
subject  to  make ;  but  no  one  looks  more  natural,  or 
more  beautiful  when  complete,  with  its  flowers,  ten- 
drils, leaves,  and  somewhat  climbing  stem ;  it  climbs. 


WAX    FLOWERS.  109 

however,  not  by  any  convolution  of  the  ''stem  itself, 
as  does  the  Convolvulus,  but  by  the  tendrils  which  the 
young  stem  throws  out  to  support  its  growth  upwards. 
No  description  can  give  an  idea  of  the  flower  itself; 
the  centre  of  it  is  a  curiously-formed  column,  with 
three  spreading,  club-shaped  arms  upon  the  top  of  it. 
This  must  all  be  modelled  of  green  Avax,  a  wire  run- 
ning up  the  centre.  Out  of  the  lower  part  of  the 
central  column  grow  five  stamens,  the  anthers  of  these 
must  be  modelled  of  dark  yellow  wax,  except  their 
filaments,  which  may  be  of  fine  green  wire  waxed". 
A  fine  bright  blue  ring  of  filaments,  like  rays,  are 
seated  around  the  lower  part,  and  this  is  supported 
by  ten,  or  sometimes  twelve,  white  petals,  each  of  them 
is  a  little  hollowed,  and  every  other  one  throughout  is 
somewhat  larger  than  the  intermediate  ones,  and  a 
little  hooked  at  the  end ;  the  back  of  these  petals  is 
generally  a  little  green.  The  tendrils  are  made  of  a 
thin  green  wire,  made  by  twisting  it  round  a  pencil, 
then  pulling  it  out  loosely.  The  leaves  are  a  very 
dark  green,  which  may  be  made  of  wax  and  stamped, 
or  they  may  be  bought  ready  made.  The  Passion 
Flower  should  always  be  made  along  with  its  stem, 
&c.,  and  hung  gracefully  over  a  vase.  There  is  a 
very  fine  species  of  Passion  Flower,  often  beautifully 
10 


110  WAX    FLOWERS. 

modelled.  *  It  is  of  a  fine  crimson  color,  with  the  rays 
partly  colored  with  a  darker  tint. 

The  Single  Hose.  —  The  Single  is  much  more  dim- 
cult  to  model  than  the  Double  one,  yet  the  Sweetbrier 
and  the  Wild  Eose  would  look  unnatural  if  doubled. 
First,  cut  a  number  of  stamens,  and  tip  them  with 
knobs  of  yellow.  Place  these  in  a  loose  bunch  around 
the  end  of  the  stem  wire,  rather  spreading  them  out 
from  the  centre,  but  not  formally  or  stiffly.  Cut  five 
heart-shaped  petals  of  white  wax,  color  them  of  a 
pinkish  hue  with  carmine,  and  place  them '  at  equal 
distances  around  and  under  the  stamens.  Next,  cut 
five  irregular  green  leaves,  which  place  underneath 
them,  for  a  calyx.  Lastly,  form  of  green  wax  a  per- 
fectly smooth,  longish,  oval  ball,  which  pass  the  wire 
through  at  the  bottom,  and  bring  it  up  close  to  the 
calyx,  Avhich  must  be  very  smoothly  and  evenly  joined 
to  it.  The  leaves  are  of  five  leaflets  of  different  sizes. 
The  rosebud  is  of  a  pointed  oval  form ;  the  calyx 
leaves  inclosing  all,  or  nearly  all,  of  the  petals,  more 
or  less,  according  to  its  expansion.  A  small  oval 
seed-vessel  is  seen  beneath  the  bud. 

The  Chrysanthemum,  China  Aster,  and  other  quilled 


WAX    FLOWERS.  Ill 

Flowers.  —  These  are  different  from  those  before  de- 
scribed. They  are  not,  properly  speaking,  double  flow- 
ers, but  are  of  that  character  called  compound  flowers, 
the  nature  of  which  is,  that  it  consists  of  a  great 
number  of  flowers  upon  one  receptacle  or  base,  the 
corolla  of  each  is  tubular,  and'  being  increased  much 
in  size  by  cultivation,  the  whole  has  a  very  compound 
or  doubled  appearance.  The  best  way  of  making 
these  quilled  flowers  is  this :  Procure  a  tin  shape, 
such  as  that  given  in  No.  7,  on  page  65.  Stamp  two 
or  three  hundred  pieces  of  white,  pink,  or  purple  wax, 
of  the  color  of  the  intended  flower,  and  as  many 
pieces  of  thin  wire  covered  with  silk,  these  last  half 
an  inch  long.  Fold  up  each  floret  of  wax  around  a 
strong,  bright  knitting-needle.  Inserting  about  half 
the  length  of  the  small  wires  in  each,  pinch  them 
tight.  The  florets  are  now  all  prepared.  The  next 
thing  is  the  receptacle.  It  may  be  made  of  refuse 
wax,  about  the  size  of  a  farthing,  but  a  quarter  of 
an  inch  thick,  and  rounded  at  the  upper  edge.  Fasten 
the  wire  for  the  general  stem  in  the  centre  beneath, 
and  cover  the  under  part  with  numerous  small  green 
leaves,  overlapping  each  other,  for  a  calyx.  Then 
choosing  first  the  most  imperfect  of  the  florets,  stick 
them  close  together  near  the  centre,  working  with 


112  WAX    FLO  WE  US. 

them  round  and  round,  till  you  get  to  the  edge,  taking 
care  to  expand  the  cleft  top  of  them  more  and  more 
as  you  proceed  outwards,  so  as  to  show  more  ex- 
panded flowers ;  this  may  be  done  one  at  a  time, 
just  before  putting  each  one  on ;  or,  more  conven- 
iently and  quickly  all  together  at  first,  arranging 
them  in  this  case  on  a  table,  so  that  they  may  be 
conveniently  handled  one  by  one  when  wanted.  If 
the  expanding  of  them  has  been  regular,  and  the 
placing  of  them  done  neatly,  the  whole,  when  fin- 
ished, will  have  a  shape  like  a  rather  flat  half  ball, 
as  the  flowers  naturally  have. 

The  Lily  of  the  Valley.  —  This  flower  must  be  made 
upon  very  different  principles  from  those  hitherto  de- 
scribed. File  to  a  round  end  a  piece  of  bone,  metal, 
plaster  of  Paris ;  or,  still  better,  the  end  of  a  round 
slate-pencil ;  grease  this  end,  and  dip  it.  half  an  inch 
deep  into  pure  white  wax,  so  cold  as  to  be  ready  to 
set  immediately ;  cut  it  round  the  stick  or  former  into 
b  fiVe^  teeth.  Dip  it  into  water,  when  the  part  at  the 
end  will  drop  off,  if  assisted  by  the  point  of  a  pen- 
knife. This  forms  the  bell  or  cup-shaped  corolla. 
Make  eight  or  ten  of  these  for  one  branch  of  flowers, 
some  rather  smaller  than  the  others,  some  of  them 


WAX    FLOWERS.  113 

also  you  may  squeeze  up  into  buds.  Then  have  as 
many  fine  wires  waxed  with  green,  upon  the  end  of 
each  put  n>e^very  small  stamens  of  yellow.  Pass  up 
a  corolla  from  the  bottom  of  the  stalk,  and  fasten  it 
close  to  the  stamens.  Then  unite  the  whole  together 
into  a  loose  bunch,  the  flowers  drooping  in  the  same 
direction.  The  whole  must  be  wrapped  in  a  leaf 
of  bright  green  wax,  as  if  it  grew  from  the  centre 
of  it. 


10 


114  WAX  FLOWERS. 


MODELLING  OF  DOUBLE 
FLO  WERS. 


ODELLING  Double  Flowers  is  infinitely 
moi-e  easy  than  that  of  single  ones,  be- 
cause Nature  here  sports  into  a  greater 
variety  of  shape  and  color.  Double 
Flowers  are  of  themselves  unnatural,  and  therefore  a 
rigid  conformity  with  the  original  is  by  no  means 
requisite,  unless  it  is  to  be  a  scientific  copy  of  some 
florist's  variety ;  a  deviation  from  which  renders  it 
valueless  for  the  purpose  intended,  however  handsome 
and  well  shaped.  In  forming  Double  Flowers  in 
wax,  the  general  form  is  the  first  consideration ; 
also,  the  manner  of  the  petals  lapping  over  each 
other,  and  that  those  which  come  nearest  to  the  out- 
side of  the  flower  are  always  larger  than  the  inner 
ones,  as  well  as  better  formed ;  and  in  a  striped  flower 
they  are  more  decidedly  and  correctly  streaked  and 


WAX    FLOWERS.  115 

spotted.  The  chief  favorites  are  the  Rose,  the  Dahlia, 
the  Camellia,  the  Carnation,  Pink,  Ranunculus,  Anemone, 
and  Primrose.  Those  flowers  which  are  most  difficult 
to  make  single,  are  never  doubled  at  all,  such  as  the 
Lily  of  the  Valley,  the  Convolvulus,  Passion  Flower,  and 
others.  Instructions  to  form  a  Dahlia  will  be  a  suffi- 
cient guide  for  Double  Flowers  in  general. 

To  form  a  Dahlia,  choose  seven  sheets  of  the  proper 
colored  wax ;  and  Dahlias  are  of  every  color,  except 
black,  brown,  green,  and  blue.  Cut  seventy  or  eighty 
shapes  with  the  tin  guides,  of  which  a  shape  is  given 
on  page  65,  with  some  of  two  or  three  smaller  sizes, 
keeping  the  various  sizes  separate.  Coil  the  smallest 
round  a  wire,  so  as  to  roll  them  up  completely.  The 
next  size  must  be  a  very  little  opened  towards  the 
top.  The  third  size  still  more  opened.  The  next 
with  only  the  sides  a  trifle  doubled  over,  and  so  on 
with  the  others  ;  the  outer  ones  being  a  little  ribbed 
lengthwise,  so  as  merely  to  show  a  waved  surface ; 
though  Dahlias  vary  very  much  in  this  respect,  most 
of  them  being  somewhat  quilled,  even  to  the  extreme 
outer  row  or  edge.  The  petals  being  ready,  take 
a  thick  wire,  and  place  around  the  end  of  it,  firmly 
fixing  them  on,  some  of  the  smallest  petals ;  after- 
wards the  other  sizes  in  regular  rotation ;  the  upper 


116  WAX    FLOWERS. 

surface  of  the  whole  together  being  of  the  form  rep- 
resented by  about  one  third  of  an  orange  cut  the  flat 
Avay,  or  like  a  portion  of  a  flattened  ball.  Lastly, 
a  calyx  is  required ;  this  may  be  of  several  small 
green  leaves  folding  over  each  other,  at  the  same 
time  concealing  the  ends  of  the  petals,  and  uniting 
them  more  firmly  to  the  stem. 


THE 

PARLOR   GARDENER. 

A  TREATISE  ON  THE  HOUSE  CULTURE 
OP  ORNAMENTAL  PLANTS. 

Translated  from  the  French,  and  adapted  to  American  use. 
BY  CORNELIA  J.  RANDOLPH, 

OF    VIRGINIA. 

WITH  ELEVEN  ILLUSTRATIVE   CUTS. 
Price  75  cents. 

THE     A  H  T 

OF 

SKETCHING  FROM   NATURE. 

TWENTY-SEVEN  ILLUSTRATIONS. 

Said  to  be  the  best  elementary  work  on  Drawing  extant. 
Price  40  cents. 


SKELETON    LEAVES 

AND 

PHANTOM    FLOWERS. 

A  New  and  Practical  Guide  to  this  elegant  art, 
the  manner  of  skeletonizing  leaves  and  flowers, 
method  of  grouping  and  arranging  into  bouquets. 
Also,  guide  to  PRESERVING  NATURAL  FLOWERS 
with  their  fresh  bloom  and  beauty. 

Price,  $1.50. 
J.  E.  TILTON  &  CO.,  Publishers. 


NEW    DRAWING    CARDS. 

SKETCHING   FROM    NATURE  FOR   YOUNG    ARTISTS. 
A  beautiful  set  of  subjects  far  superior  to  the 
imported  and  common  cards  in  use. 

Price,  per  package,  50  cents. 

J.  E.  TILTON  &  CO.,  Publishers. 


JUST    PUBLISHED, 

FLOWERS: 

HOW    TO     MAKE    THEM. 

With  new  methods  of  Sheeting  Wax,  Modelling 
Fruit,  &c. 

Price,  $1.50. 
J.  E.  TILTON  &  CO.,  Publishers. 


ART  RECREATIONS. 


A  COMPLETE,  ILLUSTRATED,  AND  EASY  GUIDE 


Pencil  Drawing,  Crayon  Drawing  and  Painting,  Water- 
Color  Painting,  Oil  Painting,  Painters'  Photographs  in 
Water  and  Oil,  Grecian  Painting,  Oriental  Painting, 
Antique  Painting,  and  in  fact  all  known  varieties  of 
Drawing  and  Painting. 

Also,  Leather  Work,  Moss  Work,  Feather  Work,  Wax 
Work,  Cone  Work,  Shell  Work,  &c.  How  to  Preserve 
Birds,  how  to  make  Aquariums,  Magic  Lanterns,  Papier 
Mache  Work,  Paper  Flowers,  Vases,  &c. ;  in  fact,  a  per- 
fect Encyclopaedia  of  all  that  is  ornamental  and  useful. 

To  be  used  without  a  teacher ;  with  rules  for  making 
all  materials  needed. 


Price,  muslin, $2.50 

Halfcalf, 3.75 

Rich  Turkey,    .    .    .    .    .    .    .     5.00 


FLOWERS 


FOE    THE 


PARLOR   AND    GARDEN. 


BY  EDWARD  SPRAGUE  RAND,  JR. 


A  splendid  illustrated  volume  on  the  culture  of  Green- 
house, Conservatory,  Stove,  Parlor,  and  Garden  Flowers, 
Ferns,  Bulbs,  &c. ;  Instructions  and  Plans  on  the  Building, 
Stocking,  and  Keeping  Conservatories,  Greenhouses,  &c. ; 
Waltonian  Cases,  Ferneries,  &c. ;  Soil  for  the  Flower 
Garden ;  List  of  Best  Plants  and  Seeds ;  How  to  Propa- 
gate ;  Time  of  Planting  and  Flowering ;  in  short,  every 
information  needed  by  the  amateur  or  the  most  experi- 
enced gardener.  It  is  a  volume  long  needed,  and  the 
author's  high  reputation  in  these  matters  will  insure  a 
work  that  will  supply  every  want. 


Price,  muslin,  gilt  top,  ....  f  2.75 

Halfcalf, 3.75 

Turkey, 5.00 


fc/Vl 


.  ; 


" 


CENTRAL  UNIVERSITY  L 

University  of  California 

DATr 


FEB 


MAR  2  9.  iQflR 


' 


j; 


1        1         I 

I  I    I 

m         I 


• 

. 

- 

.-  tffff, 

(rttttttrttttttfUrrfrr- 


»/ ff tffff ft  fit 


